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'Lesser Breeds' focuses on racism as manifested in the popular culture of nineteenth- and early twentieth-century Britain, exemplified by attitudes to the Chinese, Arabs, Blacks and Jews. This compelling book investigates the manifold expressions of prejudice in the popular arts of the period. Like Diamond's successful 'Victorian Sensation', this is a comparative exploration of how popular racism was naturalised, what issues it raised and fed off, and what this said about British people at the time. One of the author's key concerns is the way in which the popular media feeds on stereotypes, which go on to reinforce relatively uninformed cultural and social assumptions. The parallel to our own cultural and political climate is compelling. This fascinating title will be of interest given the current trend of tabloid racism; it will also appeal to a general and unfailing interest in the intriguingly vulgar British Empire.

The recent interest in quinqui film and the uprooted people of the Transition who were relegated to the background or were forgotten has recovered throughout the twenty-first century. The dissemination of the subgenre, paraphernalia and fetishism that surrounds these films, as well as the social groups they represented, have had their maximum exponent in exhibitions around the time that they were displayed in Madrid and Barcelona. During the summer of 2010, specifically from May 25 to September 6, the exhibition “Quinquis de los 80. Cine, prensa y calle” took place at the CCCB (Center for Contemporary Culture of Barcelona). Echoing this interest and practically simultaneously (from July 9 to August 29), the cultural center La Casa Encendida of Madrid held an exhibition and numerous screenings of Quinqui movies from the 70s and 80s. Both exhibitions enjoyed a great reception and affluent visits, as well as publicity and repercussion in different media, highlighting the large number of press releases published and the multiple reports that were broadcast during the television news shows of the main networks in primetime. Recently, films made with retro aesthetics in remembrance of that era have been released on the big screen, as is the case of revisions such as 7 vírgenes by Alberto Rodríguez (2005), Volando voy by Miguel Albadalejo (2006) or El idioma imposible by Rodrigo Rodero (2010). This last film is based on the homonymous novel by Francisco Casavella that is part of his particular vision of the years of the Transition through the trilogy “El día del Watussi”. In turn, renowned authors integrated into the literary star system of large circulation have published texts that portray this era and these young delinquents, slum dwellers and outcasts that are somewhere between the extreme hedonism of the heroine, the constant escape on board a Seat miriafiori or a Bultaco and survival in the peripheral neighborhoods of post-Franco Spanish cities. Authors such as Javier Cercas, with his novel Las leyes de la frontera (2012), and tributes to this type of cinema now bring this genre to a large audience that always turned its back on Quinqui film and its actors, with a nostalgic look and definitely romanticized of this time to legitimize it and finally integrate it, even within marginality, into what the Transition meant for Spanish society as a critical historical moment, however idealized, from which one cannot separate reality from the most disadvantaged that these films capture.

These films already anticipated much of the failure of the Transition, which failed to accomplish all of the achievements that it promised and that eventually ended up becoming, to a certain extent, just noise. What later is referred to as “the desencanto”, term established by the homonymous documentary of Chávarri in 1976 on the figure of the poet Leopoldo Panero; already anticipated by these films, which, although they do not articulate it theoretically or analyze it explicitly, if they implicitly expose their navajero, chorizo, macarra and yonqui characters, who live with the immediacy and the harshness of an era that did not offer them solutions, in fact one ignores them and sinks them, even more so if possible, in their particular hell in the democratic city. This ethical-social positioning towards the environment of the films analyzed here moves away completely from the illusions and reveries of high culture, as well as from the false illusion of modernity that took place in Spain at the time. Consciously or not, the films showed that disenchantment for the lack of solutions in society, not in formation, but already emerged and that had direct negative repercussions on the most disadvantaged classes. This representation of the outcasts reveals the vulnerability of the system that was being organized and that reproduced the exclusion of the lower classes. At the same time, it allowed the public to romanticize and place these characters within a halo of exoticism that attracted the big screen, since viewers could approach the wild side of life; knowing in advance the degree of verisimilitude that these works exuded since their protagonists, in numerous occasions, acted on their own existence, since many of them were drug dealers, criminals, thugs and people with multiple drug addictions who saw how their lives were spoiled as well as of most of the characters they represented on the big screen.

These films are representative of quinqui film, as a type of production that collects the lives of young delinquents in the late seventies and eighties and reflect the insecurity of the time and the degree of fame reached by the protagonists of the films. These films attempt to analyze the fractures of the new social order and offer a portrait of a collective belonging to a generation relegated to the background. The delinquency, marginality and exile of the mainstream suffered by the protagonists are the main elements that form the plot and thematic axis of these films. The Transition seems to ignore the rejection suffered by young people of the lower class and the approach of these to heroin and criminality, as spaces to develop their individualities. In this time of uncertainty, the most important creators of the Spanish film scene seem to opt for a realistic cinema, dealing with the most pressing problems of Spanish society. The works combine violence, delinquency and concern for youth, showing an attractive commercial appearance at the box office. The association between cinema, drugs and delinquency, which had never been excessively frequent, utilizes the concept of the spectacle, paradoxically, as evasion and abstraction of reality. Although these works suffer from a strong stigmatization in their beginnings, as far as criticism is concerned, they have gradually acquired the status of document and attention by social disciplines. Developing a retrospective look, this type of cinema has been constituted as another source of information when it comes to deploying social studies to analyze the conditions of youth during these years and, recently, this genre has enjoyed outbreaks of interest in criticism and the general public, both from the filmic and the social perspective.

The Elizabethan popular audience had a natural love of clowning, slapstick and the mayhem that was released when the rules of society were relaxed, broken or subverted. A play set on Midsummer Night and structured as a dream was going to be fun and full of the resonances associated with a festal day that had age old overtones of love, marriage, misrule and jolllity. Midsummer was traditionally celebrated with dancing and feasting and always involved secret assignations in the woods later when it was dark. Indeed, A Midsummer Night’s Dream is a play with a bit of everything – magic, moonlight, mayhem, love’s mad entanglements, fairies, mistakes, mechanicals as mummers, all set in the spookiness of the woods at midnight - and all of it provoking laughter.

The business of comedy was more important and serious than simply raising a laugh. It has always served a much graver purpose than mere humorous entertainment, but has also been regarded by religious, moral and cultural guardians as a lesser form than tragedy and a morally questionable one. In a world where society was strictly stratified even the arts had hierarchies. In painting devotional studies (Annunciations, Nativities, Crucifixions) were thought to be the highest endeavour, and historical subjects were thought superior to landscape and portraiture. Grotesque topics of common life (card-playing, village dances, tavern scenes) were thought of as very low art. In literature the epic poem, tragic drama, religious poetry, history plays, even lyrics and love verses were thought of as higher forms than mere comedy. Though the plays of Terence and Plautus were studied, translated and performed by schoolboys and undergraduates, and the satires of Juvenal and Horace were similarly on educational syllabuses, comedy was regarded with suspicion. It was thought to be a too vulgar form, too associated with the bourgeoisie and the commoners, too concerned with trickery, knavery and sex.

 It would not be amiss to re-title the play A Midsummer Night’s Nightmare, for, though matters in Athens are complicated and tense enough, the escape to the woods releases all manner of dark things and makes the entanglements even worse. The piece can be acted in two ways. The traditional approach has been to display it as a fast-moving, action-packed, farcical romp, a carnival of silliness; a light-hearted celebration of human foolishness, full of mistakes and misperceptions, nonsense and laughter, but turning out all right in the end, and not to be taken seriously as it is only a playful entertainment. It may also be seen as a play where oppressiveness, manipulation, misplaced love, hatred and menace dominate and the inconstancy of the human heart is disturbingly exposed. Hermia escapes from Egeus’ dictatorial threats only to find herself (and her complacent assumption of happiness to come in exile) at the mercy of forces she cannot control and does not understand. What happens in the woods is unsettling and represents the more frightening fears that lurk in the psyche and emerge in dreams. It is the woods that provoke the dream/nightmare element.

How would a Jacobean audience have assessed the story of these two classical celebrities? Are Antony and Cleopatra simply tragic lovers, or is the play a condemnation of poor male government derailed by passion for an unreliable, self-interested woman? This book provides detailed discussion of the various influences that a Jacobean audience would have brought to interpreting the play. How did people think about the world, God, sin, kings, civilized conduct? Historical, literary, political and sociological backgrounds are explained within the biblical-moral matrices by which the play would have been judged. This book links real life in the 1600s to the Roman world on the stage. Learn about the social hierarchy, gender relationships, court corruption, class tensions, the literary profile of the time, the concept of tragedy – and all the subversions, transgressions, and oppositions that made the play an unsettling picture of a disintegrating world lost through passion and machination.

With its catalogue of hit songs, iconic characters, memorable quotes and familiar scenes, ‘Grease’ is truly a behemoth of US and global popular culture. From the stage show’s debut in 1971, to the Hollywood film of 1978, to the numerous rereleases and anniversary celebrations of the twenty-first century, it has enjoyed, and continues to enjoy, success across a range of media. ‘Grease’’s extended run on Broadway through the 1970s ensured it a prominent place within broader debates on the musical, 1950s nostalgia and American youth. Numerous stage revivals have followed, with theatres across the world revisiting Rydell High in front of sell-out audiences. Hollywood has time and again sought to recreate ‘Grease’ the movie’s phenomenal box-office success with a procession of similarly themed rock and roll youth musicals (‘Footloose’, ‘Dirty Dancing’, the ‘High School Musical’ franchise, to name a few). However, even as these productions enjoy their own renown, in terms of sheer longevity, prominence and popularity, ‘Grease’ was, is and will remain ‘the word’ when it comes to musical blockbusters.

Bringing together a group of international scholars from diverse academic backgrounds, ‘Grease Is the Word’ provides a series of fresh and detailed analyses of the cultural phenomenon ‘Grease’. From the stage show’s first appearance in 1971 to twenty-first century responses to the ‘Grease Megamix’, ‘Grease Is the Word’ reflects on the musical’s impact and enduring legacy. With essays covering everything from production history, political representations, industrial impact, music, stars and reception, the book shines a spotlight on one of Broadway’s and Hollywood’s biggest commercial successes. By adopting a range of perspectives, and drawing on various visual, textual and archival sources, the contributors maintain a vibrant dialogue throughout, offering a timely reappraisal of a musical that continues to resonate with fans and commentators the world over. Written in an engaging, accessible manner, the book will appeal to students, academics, and anyone interested in American popular culture.

With its catalogue of hit songs, iconic characters, memorable quotes and familiar scenes, ‘Grease’ is truly a behemoth of US and global popular culture. From the stage show’s debut in 1971, to the Hollywood film of 1978, to the numerous rereleases and anniversary celebrations of the twenty-first century, it has enjoyed, and continues to enjoy, success across a range of media. ‘Grease’’s extended run on Broadway through the 1970s ensured it a prominent place within broader debates on the musical, 1950s nostalgia and American youth. Numerous stage revivals have followed, with theatres across the world revisiting Rydell High in front of sell-out audiences. Hollywood has time and again sought to recreate ‘Grease’ the movie’s phenomenal box-office success with a procession of similarly themed rock and roll youth musicals (‘Footloose’, ‘Dirty Dancing’, the ‘High School Musical’ franchise, to name a few). However, even as these productions enjoy their own renown, in terms of sheer longevity, prominence and popularity, ‘Grease’ was, is and will remain ‘the word’ when it comes to musical blockbusters.

Bringing together a group of international scholars from diverse academic backgrounds, ‘Grease Is the Word’ provides a series of fresh and detailed analyses of the cultural phenomenon ‘Grease’. From the stage show’s first appearance in 1971 to twenty-first century responses to the ‘Grease Megamix’, ‘Grease Is the Word’ reflects on the musical’s impact and enduring legacy. With essays covering everything from production history, political representations, industrial impact, music, stars and reception, the book shines a spotlight on one of Broadway’s and Hollywood’s biggest commercial successes. By adopting a range of perspectives, and drawing on various visual, textual and archival sources, the contributors maintain a vibrant dialogue throughout, offering a timely reappraisal of a musical that continues to resonate with fans and commentators the world over. Written in an engaging, accessible manner, the book will appeal to students, academics, and anyone interested in American popular culture.

How did the court audience of 1606 respond to Shakespeare’s most disturbing tragedy? This engaging book provides in-depth discussion of the various influences a contemporary audience would have brought to interpreting ‘King Lear’. How did people think about the world, about God, about sin, about kings, about civilized conduct? Historical, literary, political and sociological backgrounds are explained within the biblical-moral matrices by which the play would have been judged. This book links real life in the 1600s to Lear’s world on the stage. Learn about the social hierarchy, gender relationships, parenting and family dynamics, court corruption, class tensions, the literary profile of the time, the concept of tragedy – and all the subversions, transgressions, and oppositions that made the play an unsettling picture of a disintegrating world in free fall.

"Report on the Agrarian Law" (1795) and Other Writings' is the first modern English translation of perhaps the greatest work of the Spanish Enlightenment, Gaspar Melchor de Jovellanos’s 'Informe sobre la Ley Agraria' (1795). A major work of political economy and a beautifully crafted philosophical history of Spain’s political development until the eighteenth century, 'Informe sobre la Ley Agraria' is a classic work of the Spanish Enlightenment. Displaying the richness of Spanish Enlightenment writing on political economy emerging from a fecund conjugation of foreign writers (Smith, Ferguson, Condillac, Mirabeau, Genovesi) with Spanish writers (Ulloa, Olavide, Uztáriz, Campomanes), this masterpiece explores the lessons learned from the shortcomings of the Spanish Crown's economic policies in the eighteenth century.

"Report on the Agrarian Law" (1795) and Other Writings' is the first modern English translation of perhaps the greatest work of the Spanish Enlightenment, Gaspar Melchor de Jovellanos’s 'Informe sobre la Ley Agraria' (1795). A major work of political economy and a beautifully crafted philosophical history of Spain’s political development until the eighteenth century, 'Informe sobre la Ley Agraria' is a classic work of the Spanish Enlightenment. Displaying the richness of Spanish Enlightenment writing on political economy emerging from a fecund conjugation of foreign writers (Smith, Ferguson, Condillac, Mirabeau, Genovesi) with Spanish writers (Ulloa, Olavide, Uztáriz, Campomanes), this masterpiece explores the lessons learned from the shortcomings of the Spanish Crown's economic policies in the eighteenth century.

How would a Jacobean audience have assessed ‘The Tempest’? What would King James I have thought of it? This book provides detailed in-depth discussion of the various influences that an audience in 1611 would have brought to interpreting the play. How did people think about the world, about God, about sin, about kings, about civilized conduct? Historical, literary, political and sociological backgrounds are explained within the biblical-moral matrices by which the play would have been judged. This book links real life in the 1600s to the world of Prospero on the stage. Learn about the social hierarchy, gender relationships, parenting and family dynamics, court corruption, class tensions, the concept of tragi-comedy – and all the subversions, transgressions, and oppositions that made the play an unsettling picture of a world attempting to come to terms with capitalism and colonialism while re-addressing the nature of rule.

Duplicity and deception were essential ingredients in a comedy, and though they were not morally acceptable they reflect what happened in real life; the putting of personal obsession and private will before social and Christian responsibilities. But here, the excess of evil is there from the start and simply increases. There is little light-heartedness. It is all one sustained bitter snarl about humanity’s corruption. The tension between what people should do and what they actually do creates dramatic conflicts not just for the characters but also for the audience who may be torn between enjoying the dextrous scamming of Mosca and Volpone yet feeling they ought to be condemned and must be punished in the end. And the questions remain; should they be laughing at any of it and how can they not laugh at such a mad mixture of mistakes, such crass stupidity and such evil greed?

The fox is a creature of the night, a predator, a thief. He is a border raider, crossing from wild nature into man’s domestic domain. Nightstalker, elusive, devious, he is embedded deep in the European psyche as a trickster and deceiver. This persona goes back to ancient Greek times when the various fox fables of Aesop mix with other beast tales. The linking of humans to animal characteristics is part of the language: snake in the grass, wolf in sheep’s clothing, brave as a lion, timid as a mouse, busy as a bee, slimy toad, whoreson dog. At the most practical level, for a world almost entirely rural, he is the enemy of farmers and shepherds and individual poor households rearing just a few chickens; the feared killer who could annihilate a henhouse or ravage a warren. He was thus a food burglar, stealing vital nourishment before it could be put on the table and as such a threat to the family’s economy and perhaps even a threat to its survival.

Tragedy is as old as human misery and comedy is its not-quite-identical twin, for laughter is as old as tears. One mask may smile, the other cry, but the faces are similar and in many respects so are the two genres, though their outcomes are different. Man’s folly, his potential for evil, his potential for good, his ability to misunderstand the true values of life are common to both forms. One achieves correction of mistakes through disaster, pain, misery, the other through tears turning to laughter as folly is mocked and humiliated and order is restored.

'Voyage to the Moon' And Other Imaginary Lunar Flights of Fancy in Antebellum America gathers together four moon voyage stories published by Americans prior to the Civil War. Included in this scholarly critical edition are the works of University of Virginia professor George Tucker, literary magazine author and editor Edgar Allan Poe, newspaper editor Richard Adams Locke, and scientist and medical educator John Leonard Riddell. Along with a general introduction to the collection as a whole, each story has its own introductory material along with explanatory footnotes and appendixes to identify the key points of its textual and cultural history.

The four moon tales found in 'Voyage to the Moon' And Other Imaginary Lunar Flights of Fancy in Antebellum America are remarkable for the ways in which they capture a wide diversity of both literary agendas and printed material. These stories originally appeared in genres ranging from the traditional novel and the literary periodical short story to a series of newspaper articles and a scientific pamphlet. The social critiques of Tucker and Poe, the manipulative power of startling scientific revelations demonstrated in Locke’s work and the more measured scientific discussions found in Riddell all bear witness to the power of print and science in the antebellum period.

This remarkable anthology features 101 modern Japanese poems by 55 poets, including Shuntarō Tanikawa, Minoru Yoshioka, Taeko Tomioka, Nobuo Ayukawa, Tarō Kitamura, Ryūichi Tamura, Hiroshi Yoshino, Noriko Ibaragi, Gōzō Yoshimasu and Yōji Arakawa, carefully selected by the renowned poet and literary critic Makoto Ōoka to ensure that the chosen poems express each poet’s special character. The collection provides a superb introduction to Japanese poetry from the immediate postwar period to the mid-1990s, and through these works one can sense the movement in poetry that reflected the challenging transitions and dizzying transformations occurring in postwar and contemporary Japan. Selected for inclusion in the Japanese Literature Publishing Project (JLPP) by the Japanese Agency for Cultural Affairs, this first-ever English edition has been translated by Paul McCarthy with both empathy and artistic felicity, and also includes a critical introduction by the Japanese poet and essayist Chūei Yagi. Suitable for both the student/scholar of modern Japanese literature and the general reader with a passion for poetry, the 101 poems in this authoritative collection will delight and inspire.

This collection of exercises compiled for talented high-school and undergraduate-level students encourages creativity and a deeper understanding of ideas when solving physics problems. This book features almost three hundred problems and solutions worked out in detail, dealing with classical physics topics such as mechanics, thermodynamics, electrodynamics, magnetism and optics. Posed in accessible language and requiring only elementary calculus, these problems are intended to strengthen students' knowledge of the laws of physics by applying them to practical situations in a fun and instructive way. These problems and solutions challenge students of physics, stretching their abilities through practice and a thorough comprehension of ideas.

This collection of exercises compiled for talented high-school and undergraduate-level students encourages creativity and a deeper understanding of ideas when solving physics problems. This book features almost three hundred problems and solutions worked out in detail, dealing with classical physics topics such as mechanics, thermodynamics, electrodynamics, magnetism and optics. Posed in accessible language and requiring only elementary calculus, these problems are intended to strengthen students' knowledge of the laws of physics by applying them to practical situations in a fun and instructive way. These problems and solutions challenge students of physics, stretching their abilities through practice and a thorough comprehension of ideas.

For every Facebook, Amazon, Apple, Netflix and Google, there are literally thousands of small start-ups trying to ‘scale up’ to become the next Slack, Zoom or Uber. Less than 1% of these start-ups will be able to scale up. For the would-be entrepreneurial leader, for employees working in a start-up, for a potential investor, how to tell if the business-in-the-back-bedroom will ever see its name in lights? Does the entrepreneurial team in question have the muscle-power to succeed? Of the huge array of start-ups founded each year, how do investors increase their chances of backing the one in a thousand that will become a scaled-up company? How can an investor talent-spot entrepreneurial muscle-power? How does the typical entrepreneurial leader, the employee joining the start-up and the investor in the start-up increase the chances of their start-up making it to the 1% club? And there is considerable interest in contemporary entrepreneurial leadership practice. Many would-be founders have a view to setting-up new business ventures, spurred on by opportunities presented by the changing world (and often with your newly minted MBA degree). How can new entrepreneurial leaders convince others (and maybe starting with themselves and their family members) that they can survive and thrive in a competitive world? With the muscle to make it happen?

It all depends on whether or not they have this very specific Entrepreneurial Leadership Muscle – or if they can see it in others. As entrepreneurs, how can they identify, develop, build and use this necessary muscle to make things happen in a sustainable way? As investors, what are the readable signs of muscle-power and the willingness to develop that muscle power amongst the entrepreneurial leaders passing the radar screens? How can they screen-in and screen-out?

In the high-technology sector alone, recently established high-growth organizations are bringing new and innovative products to market at an extremely rapid pace. A commonality among these companies is, firstly, their relatively short organizational life span to-date (they are often only now about 10-15 years old) and secondly, the speed in which they have grown into multi-billion-dollar organizations. Here we are talking about the few that have made it – and how, and why. What do they have that the others don’t? How can entrepreneurs looking to stand out in this crowded and fast-paced field work to ensure survival and sustainability and growth? And attract investors with many options but funds only for a few? Again, it all depends on whether that Entrepreneurial Leadership Muscle is there and the leaders and teams can show it.

Although no less an authority than Joseph A. Schumpeter proclaimed that Antonio Serra was the world’s first economist, he remains something of a dark horse of economic historiography. Nearly nothing is known about Serra except that he wrote and died in jail, and his ‘Short Treatise’ is so rare that only nine original copies are known to have survived the ravages of time. What, then, can a book written nearly four centuries ago tell us about the problems we now face? Serra’s key insight, studying the economies of Venice and Naples, was that wealth was not the result of climate or providence but of policies to develop economic activities subject to increasing returns to scale and a large division of labour. Through a very systematic taxonomy of economic life, Serra then went on from this insight to theorize the causes of the wealth of nations and the measures through which a weak, dependent economy could achieve worldly melioration.

At a time when leading economists return to biological explanations for the failure of their theories, the ‘Short Treatise’ can remind us that there are elements of history which numbers and graphs cannot convey or encompass, and that there are less despondent lessons to be learned from our past. Serra’s remarkable tract is introduced by a lengthy and illuminating study of his historical context and legacy for the theoretical and cultural history of economics.

Wittgenstein is acknowledged as one of the towering intellectual figures of the twentieth-century, but he is often considered to be difficult to read, let alone to understand. In this Beginner’s Guide, Peter Hacker, a leading authority on the philosophy of the later Wittgenstein and author of a dozen books on the subject, introduces a selection of the leading ideas in Wittgenstein’s masterwork, the Philosophical Investigations. The Guide presupposes no philosophical knowledge, only curiosity and a willingness to shed prejudices. It presents a magisterial understanding of the Investigations in an accessible and witty form.

The approach is bold: the seventeen chapters alternate between authorial lecture and dialogue between the author and an imaginary interlocutor. It is both dialectical and didactic. The interlocutor challenges Wittgenstein’s ideas as presented by the lecturer, and his questions are answered, his qualms resolved, and his challenges rebutted. Innumerable objections are canvassed and patiently refuted or dissolved by comprehensive argument.

Nothing comparable to this exists in the literature on Wittgenstein. Wittgenstein’s revolutionary ideas are presented for the widest possible audience in all their profundity in a style that is both intellectually stimulating and entertaining.

Wittgenstein is acknowledged as one of the towering intellectual figures of the twentieth-century, but he is often considered to be difficult to read, let alone to understand. In this Beginner’s Guide, Peter Hacker, a leading authority on the philosophy of the later Wittgenstein and author of a dozen books on the subject, introduces a selection of the leading ideas in Wittgenstein’s masterwork, the Philosophical Investigations. The Guide presupposes no philosophical knowledge, only curiosity and a willingness to shed prejudices. It presents a magisterial understanding of the Investigations in an accessible and witty form.

The approach is bold: the seventeen chapters alternate between authorial lecture and dialogue between the author and an imaginary interlocutor. It is both dialectical and didactic. The interlocutor challenges Wittgenstein’s ideas as presented by the lecturer, and his questions are answered, his qualms resolved, and his challenges rebutted. Innumerable objections are canvassed and patiently refuted or dissolved by comprehensive argument.

Nothing comparable to this exists in the literature on Wittgenstein. Wittgenstein’s revolutionary ideas are presented for the widest possible audience in all their profundity in a style that is both intellectually stimulating and entertaining.

There was never such a thing as true freedom of speech. In the past, in order to speak freely you had to have access to a printing press, a newspaper, a radio or a TV station. And everywhere you had to get past the editors. Only members of the elite ever did – the articulate and well-behaved 'representatives' of ordinary people. But those ordinary people hardly, if ever, had a chance to speak publicly and freely.

Until now. The age of blogging has begun. The internet revolution has given us all a chance to be irreverent, blasphemous and ungrammatical in public. We can reveal secrets, blow whistles, spill beans or just make stuff up.

The old elites don't like it. In fact, they really, really hate it. Blogs are commonly shut down, and bloggers are silenced, reprimanded and fired from their jobs. Suddenly modern liberal society reveals a repressive face that few of us knew existed.

Should we behave ourselves? Should we fall silent? Absolutely not! Let's call them on their hypocrisy. Let's demand that modern liberal society lives by the principles it claims to embrace. Bloggers of the world, unite! You have nothing to lose but your gags.

This book is an authoritative and radical manifesto for changes that are urgently required in development cooperation. The book predicts that, unless radical steps are taken by the World Bank, the first decade of the century will witness a ever-widening gulf between poor and rich countries.

Jo Ritzen presents a picture of a world at a crossroads. One road leads to substantial ('radical') reform in the rich countries, in combination with a substantial push towards better governance in developing countries. The other leads to further increases in inequality between rich and poor countries. 'Millennium development goals' – such as achieving universal primary education by 2015 or reducing child mortality by two-thirds in 2015 – have had widespread support. They will not be reached if the world follows this road; unfortunately, the signs suggest that it has already started to do so.

'A Chance for the World Bank' provides an overview of the challenges faced by the World Bank, and explores how it has organized itself to accomplish its mission. This book proposes that the World Bank still has a chance to achieve its stated goals; in order to do so, it needs to take a number of radical steps: to create a level playing field in trade for the developing countries; to harmonize aid and save developing countries from the gigantic transaction costs of aid; and to promote governance in developing countries and to reduce rigorously induced corruption by multinationals.

This book is an authoritative and radical manifesto for changes that are urgently required in development cooperation. The book predicts that, unless radical steps are taken by the World Bank, the first decade of the century will witness a ever-widening gulf between poor and rich countries.

Jo Ritzen presents a picture of a world at a crossroads. One road leads to substantial ('radical') reform in the rich countries, in combination with a substantial push towards better governance in developing countries. The other leads to further increases in inequality between rich and poor countries. 'Millennium development goals' – such as achieving universal primary education by 2015 or reducing child mortality by two-thirds in 2015 – have had widespread support. They will not be reached if the world follows this road; unfortunately, the signs suggest that it has already started to do so.

'A Chance for the World Bank' provides an overview of the challenges faced by the World Bank, and explores how it has organized itself to accomplish its mission. This book proposes that the World Bank still has a chance to achieve its stated goals; in order to do so, it needs to take a number of radical steps: to create a level playing field in trade for the developing countries; to harmonize aid and save developing countries from the gigantic transaction costs of aid; and to promote governance in developing countries and to reduce rigorously induced corruption by multinationals.

A high school honors student with no police record encounters the police outside his home. He emerges from the confrontation bruised and beaten. The police charge him with serious crimes; he swears he did nothing wrong. When the story becomes public, an American city faces protests, deep division and a long quest for justice.

"A City Divided" tells the story of the case involving 18-year-old Jordan Miles and three Pittsburgh Police officers. The book takes an in-depth look at the opposing stories, and at race and the fear it incites, to find answers. What happened between the police and the teen, and what went wrong? Can the courts respond in a way that finds a just solution? And how can we prevent these tragedies in the future?

David Harris, a resident of Pittsburgh and the Sally Ann Semenko Chair at the University of Pittsburgh School of Law, describes what happened, explaining how a case that began with a young black man walking around the block in his own neighborhood turned Pittsburgh inside out, resulted in two investigations of the police officers and two federal trials. Harris, who has written, published and conducted research at the intersection of race, criminal justice and the law for almost thirty years, explains not just what happened but why, what the stakes are and, most importantly, what we must do differently to avoid these public safety catastrophes.

A high school honors student with no police record encounters the police outside his home. He emerges from the confrontation bruised and beaten. The police charge him with serious crimes; he swears he did nothing wrong. When the story becomes public, an American city faces protests, deep division and a long quest for justice.

"A City Divided" tells the story of the case involving 18-year-old Jordan Miles and three Pittsburgh Police officers. The book takes an in-depth look at the opposing stories, and at race and the fear it incites, to find answers. What happened between the police and the teen, and what went wrong? Can the courts respond in a way that finds a just solution? And how can we prevent these tragedies in the future?

David Harris, a resident of Pittsburgh and the Sally Ann Semenko Chair at the University of Pittsburgh School of Law, describes what happened, explaining how a case that began with a young black man walking around the block in his own neighborhood turned Pittsburgh inside out, resulted in two investigations of the police officers and two federal trials. Harris, who has written, published and conducted research at the intersection of race, criminal justice and the law for almost thirty years, explains not just what happened but why, what the stakes are and, most importantly, what we must do differently to avoid these public safety catastrophes.

Caroline Norton’s forgotten novel, which has remained unpublished until now, tells of the perils of courtship facing a naïve young girl Alixe, who has been launched onto the London social season. Her encounters with both a worthy and an undesirable suitor open an intriguing window onto the fashionable society of the 1820s in which Love in 'the World' takes place. Caroline was able to draw upon her own experiences of the bon ton and those of her elder sister, Helen. The time in which the novel was set coincides with their entrée to society in the mid-1820s. It was then that Caroline burst upon the scene with all her beauty and brilliance, later recalling “the night upon which she made her début, coming down dressed to the room where her mother and aunt were awaiting her.” She added, “I came out […] to find all London at my feet.”

She believed that London, “where the cry of the drowning suicide is lost in the hum of gathered multitudes restlessly pursuing the pleasures or the business of life,” could be as callous as the metropolitan social scene might prove treacherous, and in alerting the reader to the dangers of fashionable society she made ample use of her own observations as a debutante at her first London season. In a highly readable and coherent narrative with an indeterminate ending, which throws a spotlight onto her life and times, the plot of Love in “the World” initially follows a pattern broadly representative of Norton’s own experience, before developing in unexpected and surprising ways.

It also anticipates the dilemmas faced by Norton's young heroine Beatrice Brooke in her later novel, Lost and Saved (1863). Indeed the novel compares well with any of Norton’s finest narrative writing, such as The Wife and the autobiographical sections of her pamphlets. It is hoped that Love in ‘the World’, finally in print after almost two centuries, might achieve comparable recognition and inspire a wider reappraisal of Caroline Norton’s novels and stories. Edited by the team who recently published Caroline Norton’s correspondence, the book also includes a Preface by Diane Atkinson, a distinguished historian and biographer of Norton.

The book is an original critical economy account of the meaning, causes and consequences of inflation.

The bushranger legend is an important component of Australia’s cultural history, with names like Ned Kelly and Ben Hall still provoking strong, if ambivalent, responses. Storytellers mobilize this legend in unique and exciting ways that reflect upon both the cultural and actual history of bushrangers, as well as speaking to contemporary concerns and driving debate on the national character. ‘A Cultural History of the Bushranger Legend in Theatres and Cinemas, 1828–2017’ is a multidisciplinary investigation into the history of cultural representations of the bushranger legend on the stage and screen, charting that history from its origins in colonial theatre works performed while bushrangers still roamed Australia’s bush to contemporary Australian cinema. It considers the influences of industrial, political and social disruptions on these representations as well as their contributions to those disruptions.

‘A Cultural History of the Bushranger Legend in Theatres and Cinemas, 1828–2017’ is a comprehensive cultural history of representations of bushrangers in cinema and colonial theatre. Beginning with the bushranger legend’s establishment, it explores the formative years of the representational tradition, identifying the origins of characteristics and the social and industrial mechanisms through which they passed from history to popular theatre. Tracing the legend’s development, the book interrogates the promotion of these characteristics from a contested popular history to an officially sanctioned national outlook in the cinema. Finally, it analyzes the contemporary fragmentation of the bushranger legend, attending to the dissatisfactions and challenges that arose in response to political and social debates galvanized by the 1988 bicentenary.

The cultural history recounted in ‘A Cultural History of the Bushranger Legend in Theatres and Cinemas, 1828–2017’ provides not only an into the role of popular narrative representations of bushrangers in the development and reflection of Australian character, but also a detailed case study of the specific mechanisms at work in the symbiosis between a nation’s values and its creative production. Bushrangers have had a heightened though unstable significance in Australia due to the nation’s diverse population and historical insecurities and conflicts over colonial identity, land rights and settlement. Community often defined the bushrangers in their stage and screen appearances, and the challenges that these marginalized communities faced were absorbed into the political and social mainstream. ‘A Cultural History of the Bushranger Legend in Theatres and Cinemas, 1828–2017’ is an insight into the process through which the bushranger legend earned its cultural resonance in Australia.

"When an astonishing revolution toppled the Russian autocracy early in 1917, James L. Houghteling Jr., a special attaché to the US embassy in Russia, was one of the very few Americans present who daily recorded the striking events he witnessed and the comments he heard from both Russian and foreign observers. The diary of the thirty-three-year-old Chicago native therefore provides a rare and valuable record of dramatic developments in the streets of the wartime capital, Petrograd. It also offers unusual insights into how Russian elites and foreign diplomats, journalists, and business owners viewed the actions of soldiers, workers, and political leaders who shaped the revolution.

Like US Ambassador David R. Francis and others, Houghteling enthusiastically hailed the fall of the Romanov monarchy as a triumph for American-style liberty and for a patriotic spirit that seemed to promise more vigorous prosecution of the war against Germany and Austria-Hungary. Although Houghteling witnessed soldiers’ refusals to obey officers’ orders, heard stories about desertions, and learned about the popularity of socialists, he refused to allow that to dim his optimism in the weeks when the United States moved toward declaring war against Germany in April. A Diary of the Russian Revolution thus reflects the wishful thinking that affected so many Americans’ views of the overthrow of the autocracy and distorted their responses to anti-war socialists’ seizure of power in the fall of 1917.

This book presents Houghteling’s original account along with explanatory notes and an introduction that sets the diary in the wider context of American interpretations and misinterpretations of the revolutions of 1917 that did so much to shape the twentieth century."

"When an astonishing revolution toppled the Russian autocracy early in 1917, James L. Houghteling Jr., a special attaché to the US embassy in Russia, was one of the very few Americans present who daily recorded the striking events he witnessed and the comments he heard from both Russian and foreign observers. The diary of the thirty-three-year-old Chicago native therefore provides a rare and valuable record of dramatic developments in the streets of the wartime capital, Petrograd. It also offers unusual insights into how Russian elites and foreign diplomats, journalists, and business owners viewed the actions of soldiers, workers, and political leaders who shaped the revolution.

Like US Ambassador David R. Francis and others, Houghteling enthusiastically hailed the fall of the Romanov monarchy as a triumph for American-style liberty and for a patriotic spirit that seemed to promise more vigorous prosecution of the war against Germany and Austria-Hungary. Although Houghteling witnessed soldiers’ refusals to obey officers’ orders, heard stories about desertions, and learned about the popularity of socialists, he refused to allow that to dim his optimism in the weeks when the United States moved toward declaring war against Germany in April. A Diary of the Russian Revolution thus reflects the wishful thinking that affected so many Americans’ views of the overthrow of the autocracy and distorted their responses to anti-war socialists’ seizure of power in the fall of 1917.

This book presents Houghteling’s original account along with explanatory notes and an introduction that sets the diary in the wider context of American interpretations and misinterpretations of the revolutions of 1917 that did so much to shape the twentieth century."

From slums to suburbs, freak-shows to fast food, prisons to pornography, 'A Dictionary of Victorian London' is a fascinating exposé of everyday life in the Great Metropolis of Victorian London. Compiling authentic nineteenth-century voices from a multitude of sources, including advertisements, diaries, court cases, journalism and guidebooks, Lee Jackson paints a unique picture of life in a vibrant and diverse city in an alphabetical guide that ranges from A for Advertising Vans ("devoted to the promulgation of the merits of Holloway's ointment in curing diseased legs") to Z for Zazel (the world's first human cannonball). With striking contemporary illustrations throughout, this is a must-read for anyone interested in the remarkable history of London and the enthralling lives of the Victorians.

‘A First Course in Functional Analysis: Theory and Applications’ provides a comprehensive introduction to functional analysis, beginning with the fundamentals and extending into theory and applications. The volume starts with an introduction to sets and metric spaces and the notions of convergence, completeness and compactness, and continues to a detailed treatment of normed linear spaces and Hilbert spaces. The reader is then introduced to linear operators and functionals, the Hahn-Banach theorem on linear bounded functionals, conjugate spaces and adjoint operators, and the space of linear bounded functionals. Further topics include the closed graph theorem, the open mapping theorem, linear operator theory including unbounded operators, spectral theory, and a brief introduction to the Lebesgue measure. The cornerstone of the book lies in the motivation for the development of these theories, and applications that illustrate the theories in action.

One of the many strengths of this book is its detailed discussion of the theory of compact linear operators and their relationship to singular operators. Applications in optimal control theory, variational problems, wavelet analysis and dynamical systems are highlighted.

This volume strikes an ideal balance between concision of mathematical exposition and offering complete explanatory materials and careful step-by-step instructions. It will serve as a ready reference not only for students of mathematics, but also students of physics, applied mathematics, statistics and engineering.One of the many strengths of the book is the detailed discussion of the theory of compact linear operators and their relationship to singular operators. Applications in optimal control theory, variational problems, wavelet analysis, and dynamical systems are highlighted.

This volume strikes the ideal balance between concision of mathematical exposition, and complete explanatory material accompanied by careful step-by-step instructions intended to serve as a ready reference not only for students of mathematics, but also students of physics, applied mathematics, statistics and engineering.

‘A First Course in Functional Analysis: Theory and Applications’ provides a comprehensive introduction to functional analysis, beginning with the fundamentals and extending into theory and applications. The volume starts with an introduction to sets and metric spaces and the notions of convergence, completeness and compactness, and continues to a detailed treatment of normed linear spaces and Hilbert spaces. The reader is then introduced to linear operators and functionals, the Hahn-Banach theorem on linear bounded functionals, conjugate spaces and adjoint operators, and the space of linear bounded functionals. Further topics include the closed graph theorem, the open mapping theorem, linear operator theory including unbounded operators, spectral theory, and a brief introduction to the Lebesgue measure. The cornerstone of the book lies in the motivation for the development of these theories, and applications that illustrate the theories in action.

One of the many strengths of this book is its detailed discussion of the theory of compact linear operators and their relationship to singular operators. Applications in optimal control theory, variational problems, wavelet analysis and dynamical systems are highlighted.

This volume strikes an ideal balance between concision of mathematical exposition and offering complete explanatory materials and careful step-by-step instructions. It will serve as a ready reference not only for students of mathematics, but also students of physics, applied mathematics, statistics and engineering.One of the many strengths of the book is the detailed discussion of the theory of compact linear operators and their relationship to singular operators. Applications in optimal control theory, variational problems, wavelet analysis, and dynamical systems are highlighted.

This volume strikes the ideal balance between concision of mathematical exposition, and complete explanatory material accompanied by careful step-by-step instructions intended to serve as a ready reference not only for students of mathematics, but also students of physics, applied mathematics, statistics and engineering.

What is culture? The history of our discipline – whether we call it ethnology or social anthropology – shows that there is not a constant answer to this question or even a constant object of study. How can we search for a unifying answer to what makes us human even as we observe how immensely varied we are? And how can we explain that such difference is the very core of what makes us similarly human?

This book explores the idea of ethnography as a method for understanding cultural flow in particular contexts and suggests that anthropology can do its most important work by tracing the history of social formations. Nothing about culture is static, yet something best-called culture sustains itself over time. At the heart of anthropology is the attempt to understand the concept of culture, even as we continue to challenge its definition in our field.

 This short volume presents the Jensen Memorial Lectures delivered at the Frobenius Institute for Research in Cultural Anthropology at Goethe University, Frankfurt, in 2019. The lectures reflect on the current moment in – and the capacity of – contemporary anthropology to consider the discipline’s basic premises, through the lens of its classical thinkers. Through a set of four lectures and an introduction, this book takes up anthropology’s most basic question – the meaning of culture – and asks how it is that our unique method is able to elicit both fine-grained particularities about specific social orders and speak to the definition of that which makes us human.

This book provides a comprehensive guide to all three volumes of Karl Marx’s ‘Capital’, with advice on further reading and points for further discussion. Recognizing the contemporary relevance of ‘Capital’ in the midst of the current financial crisis, Kenneth Smith has produced an essential guide to Marx’s ideas, particularly on the subject of the circulation of money-capital. This guide uniquely presents the three volumes of ‘Capital’ in a different order of reading to that in which they were published, placing them instead in the order that Marx himself sometimes recommended as a more user-friendly way of reading. Dr Smith also argues that for most of the twentieth century, the full development of the capitalist mode of production (CMP) has been undermined by the existence of a non-capitalist ‘third world’, which has caused the CMP to take on the form of what Marx called a highly developed mercantile system, rather than one characterized by an uninterrupted circuit of industrial capital of the kind he expected would develop. While the guide can be read as a book in its own right, it also contains detailed references to Volumes I–III so that students, seminars and discussion groups can easily make connections between Smith’s explanations and the relevant parts of ‘Capital’.

This book provides a comprehensive guide to all three volumes of Karl Marx’s ‘Capital’, with advice on further reading and points for further discussion. Recognizing the contemporary relevance of ‘Capital’ in the midst of the current financial crisis, Kenneth Smith has produced an essential guide to Marx’s ideas, particularly on the subject of the circulation of money-capital. This guide uniquely presents the three volumes of ‘Capital’ in a different order of reading to that in which they were published, placing them instead in the order that Marx himself sometimes recommended as a more user-friendly way of reading. Dr Smith also argues that for most of the twentieth century, the full development of the capitalist mode of production (CMP) has been undermined by the existence of a non-capitalist ‘third world’, which has caused the CMP to take on the form of what Marx called a highly developed mercantile system, rather than one characterized by an uninterrupted circuit of industrial capital of the kind he expected would develop. While the guide can be read as a book in its own right, it also contains detailed references to Volumes I–III so that students, seminars and discussion groups can easily make connections between Smith’s explanations and the relevant parts of ‘Capital’.

The world is loaded with information. We enjoy immediate access to most of it through laptops, smartphones and the Internet. There is, however, a great deal of information that professionals cannot reach unless they talk to their clients, patients, job applicants and others. When the purpose is to obtain accurate, relevant and reliable information, no professional interpersonal encounter has been subjected to more systematic and critical research than police interviews of victims, witnesses and suspects of crime. Knowledge derived from this research has formed a novel, more effective way to gather information. The concept is known as Investigative Interviewing, and throughout Interviewing Techniques for Professionals, the authors demonstrate that research-based methodology is applicable and likely to advance professional interviews within a wide range of professions. Based on the extensive feedback the authors have received as advisors and trainers from a highly diverse group of clients and participants, including prosecutors, judges, journalists, investors, recruiters, physicians, researchers, NGOs, lawyers, HR employees, immigration- taxation- child protection- food and competition authorities, to name a few, it has become evident that the concept of Investigative Interviewing is of great utility value, far beyond police stations. 

The pressure to perform and conclude creates working environments vulnerable to errors related to decision making. These challenges are not unique to the police. Unfortunate consequences directly related to poor interviewing can be of a social, financial and human nature. Without professional interviewing techniques, including a methodology that stimulates open mindedness, physicians, head-hunters, intelligence personnel, finance analytics, journalists and others run the risk of confirming their premature assumptions. In worst case scenarios, resulting in deaths caused by wrong treatment, refugees are deported only to face torture or executions, bankruptcy and so on

The techniques presented by the authors were specifically developed to guide interviewers through a mental and practical process that will allow them to remain open-minded to all possibilities, mitigating problems associated with premature decisions. A growing body of research shows with consensus that interviews conducted by professionals without theoretical knowledge and a methodological approach can, at worst, lead to self-fulfilling prophecies, where the interviewer only succeeds in extracting information that confirms his or her premature conceptions, opinions or assumptions. Besides providing the reader with a methodology that stimulates open-mindedness, Interviewing Techniques for Professionals will provide the reader with question techniques developed to test the interviewer`s preconceptions. It will also provide an understanding of what kind of questions reveal the most information; which questions should be asked first; which questions ought to be avoided; how questions should be presented; and, in particular, which interpersonal communication principles stimulate rapport and mitigate communication breakdowns.

This compact volume is a practical guide for anyone interested in Trade Credit Insurance. The International Credit Insurance & Surety Association (ICISA) presents an approachable but detailed guide written collaboratively by carefully selected industry experts. The guide describes the ‘lifeline’ of the credit insurance product, from the initial application stage to the expiration phase of the policy, including practical use aspects for credit managers. The volume offers compact information on the history of trade, the need for protection against trade credit risks, and solutions offered by credit insurance providers. The focus is on short term credit, including whole turnover policies and single risk policies.

During a time of accelerating momentum for radical change in the study of economics, 'A Guide to What's Wrong with Economics' comprehensively re-examines the shortcomings of neoclassical economics and considers a number of alternative formulations. In it, a distinguished list of non-neoclassical economists provide a study of some of the many worldly and logical gaps in neoclassical economics, its hidden ideological agendas, disregard for the environment, habitual misuse of mathematics and statistics, inability to address the major issues of economic globalization, its ethical cynicism concerning poverty, racism and sexism and its misrepresentation of economic history. In clear and engaging prose, 'A Guide to What's Wrong with Economics' shows how interesting, relevant and exciting economics can be when it is pursued not as a defence of an antiquated and close-minded system of belief, but as a no-holds-barred inquiry looking for real-world truths.

The book has two, related parts: the first historical and the second theoretical. The first part traces the beginning of “religious studies,” as it now increasingly is called, to the early nineteenth century. It places those beginnings in the broader cultural context of what is generally referred to as Romanticism. A case is made that the principal relations between the origins of religious studies and Romanticism is that both arise as reactions to major characteristics of modern culture, primarily the turn of attention away from the past and toward the future and from textuality toward rationality and materiality, including the separation of the two from one another.

The first or historical half of the book is structured by three recurring and enduring interests in religion by scholars, mainly working in the social or human sciences, including history, that are shared during the period and continue, albeit in more complex and varied forms, today. The first of these three interests is the importance for religious people of the past and its continuing relevance to their present and future. This interest and evaluation of the past and origins is, either directly or implicitly, contrasted to Western modernity’s orientation to the future and neglect and devaluing of the past. The second interest or focus is on the emphasis among religious people on the intangible or spiritual in human lives and cultures. This interest is, either directly or by implication, a reaction to the importance in modernity that is ascribed to the tangible and material. The third interest taken by scholars in the cultures of religious societies is the adequacy and coherence of worldviews that they provide, which stand in contrast to the lack in modern culture of worldviews that have a comparable degree of coherence and adequacy. These three interests are treated by including for each of them brief sketches of the work of five scholars arranged in chronological order. The conclusion drawn from these surveys of fifteen scholars from the beginning of the nineteenth century and into the twentieth century, most of whom were working in the social or human sciences, is that they shared an interest in human needs, potentials, and well being and a recognition that in various ways and to varying degrees modern culture is questionable due to its inability to provide what can be seen as an active aspect of religiously constituted cultures, particularly those of peoples not affected by the principal characteristics of Western modernity. The conclusion drawn is that religion has provided and continues for many to provide benefits that modernity otherwise fails to provide and that if religion can no longer play this role, something else must or will be found to fill the need or provide the benefits that religion once provided.

The second or theoretical part of the book addresses questions and problems that appear in and for the study of religion. One of these is the question of what must be included if a person or a people is identified as religious. It is argued that an adequate answer to this question is a more complex and dynamic understanding of religion than is generally the case, that definitions of religion tend to be too simple and static. The case is made that there are three necessary and sufficient aspects or components of being religious. Another question addressed in this second part is why religion is so often marked by sharp differences, tensions, and even conflicts within a single religion, between differing religions, and between religious and nonreligious groups or people. Another question treated in this part concerns the differences that arise between studying religion while being religious and studying religion while being nonreligious.

The two parts of the book are held together by the recurring attention that is given to the last of these questions, that is, the difference between studying religion while being religious and studying religion in nonreligious or secular ways. The case is made that this problem, the relations of religious and nonreligious study of religion to one another, has troubled the field from its beginnings. The development of the field as presented in the first part of the book was carried on largely by scholars who, even when not themselves religious, saw religion as having had beneficial relations to human well being. But by the middle of the twentieth century, it became clear that religion as part of human life and culture in the West needed more directly to be religiously supported, and faculties of religious studies in higher education were formed or enlarged by scholars who had, for reasons given, more explicitly religious bases for their studies of religion. This difference within the field between religious and secular study of religion threatens the field’s coherence; one overarching purposes of the book is to identify how and why a greater rapprochement between the two sides is both badly needed and, if guided by the book, approachable.

There is no lack of sensationalism in the period of Irish history 1800–1922. Large dramas played themselves out in small places. The last subsistence crisis of Europe would be enough to justify this judgement, but there is more: endemic levels of violence, the formation of the first state police force in the history of Britain, republican militancy, tithe and land wars, socialist protest, armed insurrection, war and civil war pockmark the era. The history of Ireland, particularly in its relationship to the imperial power of Britain, has been fraught to say the least. The so-called ‘Pax Britannica’ never became a genuine ‘Pax Hibernia’.

However, such an account needs to be balanced against other stories that emerge from the period. Ireland had its own ‘Victorian’ era and a more benign revolution in social mores, technology, communication and transport. Many features of twentieth-century political and social practice were then established: a system of public health, factory inspection, primary education, ordnance survey mapping, civic improvement and census taking. Sporting, musical and cultural traditions knew an intense phase of development. Moreover, Irish leaders and many of the middle-classes adapted to the Union’s constitutional arrangements and successfully exploited it to their advantage. In 1922, both north and south Ireland did inherit a certain institutional stability from the Union era.

Both of these stories need to be told together to reflect the recent scholarship on all areas of modern Irish history. This book is a historiographical synthesis, providing readers with an understanding of the nature of current arguments and debates about a past that is neither dead nor, in many ways, even past.

This new edition retains the features of the first edition that made it a popular choice in universities and colleges throughout the US, Canada and around the world. Moss's accessible history includes full treatment of everyday life, the role of women, rural life, law, religion, literature and art. In addition, it provides many other features that have proven successful with both professors and students, including: a well-organized and clearly written text, references to varying historical perspectives, numerous illustrations and maps that supplement and amplify the text, fully updated bibliographies accompanying each chapter as well as a general bibliography of more comprehensive works, a glossary, and chronological and genealogical lists. Moss's 'A History of Russia' will appeal to academics, students and general readers alike.

In this fully updated second edition of 'A History of Russia' Vol. II, Walter G. Moss has significantly revised his text and bibliography to reflect new research findings and controversies on numerous subjects. He has also brought the history up-to-date by revising the post-Soviet material, which now covers events from the end of 1991 up to the present day. This new edition retains the features of the successful first edition that have made it a popular choice in universities and colleges throughout the US, Canada and around the world. Moss’s accessible history includes full treatments of politics, economics, foreign affairs and wars, and also of everyday life, women, legal developments, religion, literature, art and popular culture. In addition, it provides many other features that have proven successful with both academics and students, including a well-organized and clearly written text, references to varying historical viewpoints, numerous illustrations and maps that supplement and amplify the text, fully updated bibliographies accompanying each chapter as well as a general bibliography of more comprehensive works, a glossary and a chronology of important events. Moss's 'A History of Russia' will appeal to academics, students and general readers alike.

In human binocular vision, the lenses of our eyes project two slightly different images onto the retinas and our brain calculates the difference between them as actual depth. Stereoscopy replicates this process by providing left-eye views and right-eye views (stereo pairs) of the same picture at slightly different angles which, when viewed simultaneously, create the illusion of depth (stereopsis). In 1844 Sir David Brewster invented a handheld apparatus for viewing stereoscopic photographs through a system of prismatic lenses, with the stereo pairs mounted on a single card. During the 1870s, a popular theatrical entertainment involved the projection of duo-color coded slides onto a large screen to be viewed through glasses with corresponding left and right colored cells to produce a stereoscopic illusion, known as “anaglyphic” 3-D. 

With the development of motion pictures, it was natural that pioneers like William Friese-Green and the Lumiere brothers would experiment with anaglyphic systems, since the photographic principle was the same. But commercial exploitation of the process awaited 1952, when independent producer Arch Oboler released Bwana Devil, a low-budget Anscocolor feature whose phenomenal box-office success catalyzed a short, industry-wide conversion to 3-D. Between 1953 and 1954, Hollywood produced 69 features in 3-D, mostly action films that could exploit the depth illusion, such as Westerns, science fiction, and horror films—all of them shot in some version of Oboler’s Natural Vision. With some modification, such as the introduction of twin-lens cameras and projectors, this was the process used for nearly all the 3-D films made between 1953 and 2009, when James Cameron’s Avatar became the highest-grossing feature of all time and the studios once again stampeded into 3-D production, this time in the more perceptually satisfying (and, ultimately, cost-effective) digital form. 

While all 3-D systems fool our brains into believing that something is either closer or farther away than it actually is, older systems tended to represent depth as a series of dimensionally flat planes like an eighteenth-century peep show, whereas digital systems add the effect of volumetric figures occupying real space, creating a kind of “aesthetics of immersion.” Yet the ultimate technology for seeing things in three dimensions is Virtual Reality (VR), which uses a hybrid of advanced modern technology—Lidar scanners, hyper-accelerated graphic cards, etc.—and the stereoscopic illusion first quantified in the nineteenth century to create a state of sensory immersion that borders on otherness. Finding a way to mass-market the VR experience as a form of popular cinema, rather than as an enhanced form of video game, has become the new grail of the film industry.

For millennia the proto-Chinese Sinitic cultures of the Yellow River basin, centered on the Central (or “North China”) Plain, evolved in a very different direction from those of the Yangtze basin and lands to the farther south. Because scholars of the former monopolized the written record, East Asian history has long adopted their viewpoint, which has discounted the importance of those southern cultures, which were dismissed as “barbaric.”

This book uses the drainage and reclamation of a coastal marsh on the central Fujian coast organized by a Sinitic magnate in the later eighth century to explore both the nature of local culture and its interaction with and impact upon the evolving Sinitic culture. Bearers of the latter had already been migrating toward the south for centuries, but before the Tang few had ventured south of the Min River basin in northern Fujian into the central and southern basins of the province. The project was undertaken in response to their growing demand for land, which grew as the pace of migration accelerated in the aftermath of the mid-eighth century rebellions that almost ended the Tang.

Later records claim that the project was undermined by a jiao, a mythological dragon-like beast. The author argues that this in fact was a crocodile that was wallowing in the dikes. Cultural memory had transformed the crocodile into a jiao as a representation of the indigenous culture that had transformed Sinitic culture. He concludes that this local event illustrates the accommodation that evolved between the classical culture of the Yellow River and the local cultures of the south.

This book challenges the notion of a ‘new’ India, not by dismissing it as an imagined India, but by engaging in the debate as to what constitutes the new. It acknowledges that India is changing remarkably, while also acknowledging that in the overzealous enthusiasm about the new India there is collective amnesia about the other, older India. The essays argue that the increasing consolidation of capitalist markets of commodity production and consumption has unleashed not only economic growth and social change, but also introduced new contradictions associated with market dynamics in the economic and social spheres such as agrarian crisis, slow growth of employment, and the persistence of low-caste exploitation.

The volume also investigates the emergent tensions in art, architecture, and citizenship. In transforming India into an IT valley with corporate campuses, appealing to a westernized audience of technology entrepreneurs, including non-resident Indians abroad, architecture arguably is not addressing India’s economic and social plight. Art too has taken a commercial turn by catering to the new middle classes spawned by the global and Indian technology revolution. The extraordinary economic values they command seem to jar with the grim economic and social polarization underway. The book unravels contemporary India in its complexities and uncovers some of the hidden tensions plaguing the country, and points to the significance of a widely shared development outcome as an alternative for social transformation.

This book challenges the notion of a ‘new’ India, not by dismissing it as an imagined India, but by engaging in the debate as to what constitutes the new. It acknowledges that India is changing remarkably, while also acknowledging that in the overzealous enthusiasm about the new India there is collective amnesia about the other, older India. The essays argue that the increasing consolidation of capitalist markets of commodity production and consumption has unleashed not only economic growth and social change, but also introduced new contradictions associated with market dynamics in the economic and social spheres such as agrarian crisis, slow growth of employment, and the persistence of low-caste exploitation.

The volume also investigates the emergent tensions in art, architecture, and citizenship. In transforming India into an IT valley with corporate campuses, appealing to a westernized audience of technology entrepreneurs, including non-resident Indians abroad, architecture arguably is not addressing India’s economic and social plight. Art too has taken a commercial turn by catering to the new middle classes spawned by the global and Indian technology revolution. The extraordinary economic values they command seem to jar with the grim economic and social polarization underway. The book unravels contemporary India in its complexities and uncovers some of the hidden tensions plaguing the country, and points to the significance of a widely shared development outcome as an alternative for social transformation.

Opportunities to write our memoirs are many and varied. To meet emerging demands, the memoir genre continually is evolving, and it is possible for the memoirist to shape the memoirs, with varying themes, time and settings, to be brought to bear on school education at a senior level and for a range of teacher-development programs. Thus, the developing importance of an accompanying exegesis.
For better or for worse, childhoods shape adult relationships and attachment styles, profoundly shaping who we are as teachers, teaching styles and generally the things we consider important and not so important. The shape of our childhood and adolescence has a profound impact on how relationships are formed in adulthood. It can affect our ability to trust, be vulnerable and create productive bonds, both at school and college and professionally, and also our general levels of motivation.
Through the aforementioned theme and subthemes, my memoirs here reveal how childhood struggle has shaped my approach to teaching and my academic career – from an unskilled labourer from the country working class in the timber industry, deprived of a high school education and recruited into the workforce at 15 years of age, to a senior academic in one of Australia’s G8 universities, holding five PhDs.
With strong historical backgrounding, a special appeal of this book is its drive to place childhood and adolescent events contained in the memoirs in a wider historical context, looking to transnational movements such as discussions on anachronisms and eugenics. In so doing, the exegesis – a fresh and exciting innovation – is in harmony with the memoirs. The memoir is so refashioned as a pedagogical tool.

A Player’s Guide to the Post-Truth Condition: The Name of the Game presents sixteen short, readable chapters designed to leverage our post-truth condition’s deep historical and philosophical roots into opportunities for unprecedented innovation and change. Fuller offers a bracing, proactive and hopeful vision against the tendency to demonize post-truth as the realm of ‘fake news’ and ‘bullshit’. Where others see threats to the established order, Fuller sees opportunities to overturn it. This theme is pursued across many domains, including politics, religion, the economy, the law, public relations, journalism, the performing arts and academia, not least academic science. The red thread running through Fuller’s treatment is that these domains are games that cannot be easily won unless one can determine the terms of engagement, which is to say, the ‘name of the game’. This involves the exercise of ‘modal power’, which is the capacity to manipulate what people think is possible. Once the ‘necessarily’ true appears to be only ‘contingently’ so, then the future suddenly becomes a more open space for action. This was what frightened Plato about the alternative realities persuasively portrayed by playwrights in ancient Athens. Nevertheless, Fuller believes that it should be embraced by denizens of today’s post-truth condition. 

This book is designed to do what its title says, namely, to provide a guide to the post-truth condition for those who wish to feel at home and thrive in it – rather than simply avoid or attack it. It consists of a series of short chapters that are best read in the order presented but may also be read in a different order or simply in parts – as most books are normally read. The book ranges widely across philosophy, theology, science, politics, economics, psychology and the arts – but hopefully in a way that allows readers to find their bearings, given the opportunities presented by the Internet to follow up whatever might interest them in the text. Underlying this breadth of scope is a fundamental scepticism with ‘business as usual’ in the production and evaluation of knowledge claims. To be sure, the reader will see that post-truth extends many of the themes already found in what passes for ‘postmodernism’. However, at a deeper level, and in light of the ongoing COVID-19 pandemic, the post-truth condition invites us to discover in a new key what it has always meant to be ‘modern’.

A Player’s Guide to the Post-Truth Condition: The Name of the Game presents sixteen short, readable chapters designed to leverage our post-truth condition’s deep historical and philosophical roots into opportunities for unprecedented innovation and change. Fuller offers a bracing, proactive and hopeful vision against the tendency to demonize post-truth as the realm of ‘fake news’ and ‘bullshit’. Where others see threats to the established order, Fuller sees opportunities to overturn it. This theme is pursued across many domains, including politics, religion, the economy, the law, public relations, journalism, the performing arts and academia, not least academic science. The red thread running through Fuller’s treatment is that these domains are games that cannot be easily won unless one can determine the terms of engagement, which is to say, the ‘name of the game’. This involves the exercise of ‘modal power’, which is the capacity to manipulate what people think is possible. Once the ‘necessarily’ true appears to be only ‘contingently’ so, then the future suddenly becomes a more open space for action. This was what frightened Plato about the alternative realities persuasively portrayed by playwrights in ancient Athens. Nevertheless, Fuller believes that it should be embraced by denizens of today’s post-truth condition. 

This book is designed to do what its title says, namely, to provide a guide to the post-truth condition for those who wish to feel at home and thrive in it – rather than simply avoid or attack it. It consists of a series of short chapters that are best read in the order presented but may also be read in a different order or simply in parts – as most books are normally read. The book ranges widely across philosophy, theology, science, politics, economics, psychology and the arts – but hopefully in a way that allows readers to find their bearings, given the opportunities presented by the Internet to follow up whatever might interest them in the text. Underlying this breadth of scope is a fundamental scepticism with ‘business as usual’ in the production and evaluation of knowledge claims. To be sure, the reader will see that post-truth extends many of the themes already found in what passes for ‘postmodernism’. However, at a deeper level, and in light of the ongoing COVID-19 pandemic, the post-truth condition invites us to discover in a new key what it has always meant to be ‘modern’.

Despite the great interest in and the availability of enormous literature about education in Japan, this book is a translation of the first work written in Japanese on the history of literacy in Japan. The authors are each accomplished scholars of Japanese educational history, and each provides solid empirical evidence and original analyses of literacy in their own particular specialty, from Heian aristocrats, to religious sects in the medieval period, to Christian believers in the sixteenth century, to a variety of farmers and merchants in early modern times. 

The book is unique in the sense that literacy in Japan is analysed with a high degree of methodological sophistication backed by empirical evidence in the form of “signatures” or personal marks on documents, on so many topics. The result is to show the often fallacious and easy generalizations made about literacy in Japan and to show that evidence exists to enable more robust empirical investigations to be undertaken. This book will make it possible for the Japanese case to be used more meaningfully worldwide and in comparative studies of literacy. 

Guiding the emergence of a new green economy, based on a green industrial system and on green growth for its propagation, is the core challenge of our time. Efforts so far to switch to renewables in power generation have succeeded in partially transforming energy systems. Efforts to capture the process through imposition of carbon taxes or emissions trading schemes have fallen far short: these are policies based on simplistic comparative static economic frameworks involving changing prices but never engaging with the dynamic industrial drivers of change. A systemic perspective, focusing on the supersession of one technoeconomic system, based on fossil fuels, by another system, based on hydrogen, renewables and circular flows, is called for. The argument is developed that a new politics of energy is evolving from one based on fossil fuels to one where our industrial civilization is maturing and sees the manufacture of energy and energy devices as central to its continued survival.
In this book I construct an image of the green industrial revolution drawn from perspectives that are under-appreciated in conventional economics. Economic progress is viewed in terms of capture of increasing returns generated by manufacturing, with learning curves reducing costs as the market expands, in successive waves of circular and cumulative causation. Secondly, technoeconomic change is viewed as creative destruction, whereby competitive dynamics drive economic progress. And third, the economy is viewed as clusters of value chains replacing each other in a chain reaction of interactions propagating new chains and their interlinkages and eliminating incumbent chains. These perspectives, drawn from heterodox economics framed in disequilibrium, supplemented by a view of the emergence and diffusion of green hydrogen as a novel (sixth) technoeconomic paradigm surge, enable us to make sense of the dynamic green transformation emerging out of the matrix of the black fossil fuel system, where it is the future of our industrial civilization that is at stake.

Guiding the emergence of a new green economy, based on a green industrial system and on green growth for its propagation, is the core challenge of our time. Efforts so far to switch to renewables in power generation have succeeded in partially transforming energy systems. Efforts to capture the process through imposition of carbon taxes or emissions trading schemes have fallen far short: these are policies based on simplistic comparative static economic frameworks involving changing prices but never engaging with the dynamic industrial drivers of change. A systemic perspective, focusing on the supersession of one technoeconomic system, based on fossil fuels, by another system, based on hydrogen, renewables and circular flows, is called for. The argument is developed that a new politics of energy is evolving from one based on fossil fuels to one where our industrial civilization is maturing and sees the manufacture of energy and energy devices as central to its continued survival.
In this book I construct an image of the green industrial revolution drawn from perspectives that are under-appreciated in conventional economics. Economic progress is viewed in terms of capture of increasing returns generated by manufacturing, with learning curves reducing costs as the market expands, in successive waves of circular and cumulative causation. Secondly, technoeconomic change is viewed as creative destruction, whereby competitive dynamics drive economic progress. And third, the economy is viewed as clusters of value chains replacing each other in a chain reaction of interactions propagating new chains and their interlinkages and eliminating incumbent chains. These perspectives, drawn from heterodox economics framed in disequilibrium, supplemented by a view of the emergence and diffusion of green hydrogen as a novel (sixth) technoeconomic paradigm surge, enable us to make sense of the dynamic green transformation emerging out of the matrix of the black fossil fuel system, where it is the future of our industrial civilization that is at stake.

In this book, Hogue re-configures the history of modern America and re-represents the modern American novel, allowing conceptual spaces of race, gender, sex, nature, the non-rational, the non-human, consumption, and class to be critiqued or to be displaced, eventually highlighting that modern American history and literature are not singular. They are much more complex, diverse, heterogeneous, and richer because modern American history is a series of economic, social, anti-colonial, feminist, and political and social movements, levels, and conditions, with a whole interplay of differences. The book explains how, historically and institutionally, in the 1920s and 1930s modern American society and modern American literature have been represented singularly and monoculturally, with modernity breaking with the past/nature/the non-human—animals, plants, the water, the landscape, the non-rational, and/or indifferent forces of nature such as hurricanes.

This book focuses, first, on the transformation of modern American history, literature, and culture, which had begun in the middle of the nineteenth century. The transformation created a new and different and unequal modern American society through a series of events—many of them happening sequentially and simultaneously, the United States in the early 20th century grew into an economic superpower. Second, the book examines the darker side of this unequal modern American society: the legal racial segregation of people of color and the deadly economic exploitation of the working class, women, people of color, colonized nations, incorporated territories and protectorates. Third, it focuses on how vulnerable and marginalized people of color, women, working-class European immigrants, colonized nations, incorporated territories, protectorates, and writers, who were denied justice, difference and equality, resisted, challenged, re-wrote, and transformed this modern America.

The reconfiguration of the history of modern America is explored using Althusser’s concepts of the Repressive State apparatus and the Ideological State apparatuses, and postcolonial, feminist, psychoanalytical, deconstructive, cultural theories and Foucault/Deleuze’s notion of history, showing how the US in the 1920s and 1930s emerged as a rational, mechanical society with a business civilization, where mass production, consumerism and advertising contributed to the construction of the social and the subject. The book explains how progressives, labor unions, workers, the NAACP and the Garvey movement, socialists, communists, bohemians, Asian and Native American resistance movements, the Anti-Imperialist League, and the various sectors of the women’s movements—which co-existed and developed on parallel planes and which, at times, commingle in their becomings—challenged, contested, and, at times, transformed this economically, socially, and racially unequal, modern America.

This book groups together three kinds of experience: the experience of the sublime, of 'epiphany' which is generally a profound experience of something ordinary, and the feeling of 'thrills' which can be a shiver down the spine or sudden tears. 

These 'strong experiences' have been extensively studied, but almost always separately from one another, and in a variety of disciplines, and so this is the first major attempt to bring them together under a relatively simple psychological account. The book reviews some of the work on the sublime and epiphanies, including life-changing epiphanies, in the literary critical, philosophical and psychological literature. It explores how we can feel that we know things which are deeply important without being able to put what we know into words, and it also offers an introduction to some basic psychological ideas about knowledge. The book focuses on the physical aspects of the experience, and their relation to emotions, and looks in detail at what the body actually does when we feel goosebumps and similar sensations. It continues to outline some of the simple psychological notions which support this account of strong experiences, including how surprise works, and other related notions such as curiosity, attention and empathy, and why ordinary things can sometimes be perceived as though they are sources of profound insight.

The final section briefly summarises various devices in literary texts which can be used to trigger strong experiences in a reader. It concludes by noting that our strong experiences of literary texts and other aesthetic objects are related to our more general aesthetic experience.

This book groups together three kinds of experience: the experience of the sublime, of 'epiphany' which is generally a profound experience of something ordinary, and the feeling of 'thrills' which can be a shiver down the spine or sudden tears. 

These 'strong experiences' have been extensively studied, but almost always separately from one another, and in a variety of disciplines, and so this is the first major attempt to bring them together under a relatively simple psychological account. The book reviews some of the work on the sublime and epiphanies, including life-changing epiphanies, in the literary critical, philosophical and psychological literature. It explores how we can feel that we know things which are deeply important without being able to put what we know into words, and it also offers an introduction to some basic psychological ideas about knowledge. The book focuses on the physical aspects of the experience, and their relation to emotions, and looks in detail at what the body actually does when we feel goosebumps and similar sensations. It continues to outline some of the simple psychological notions which support this account of strong experiences, including how surprise works, and other related notions such as curiosity, attention and empathy, and why ordinary things can sometimes be perceived as though they are sources of profound insight.

The final section briefly summarises various devices in literary texts which can be used to trigger strong experiences in a reader. It concludes by noting that our strong experiences of literary texts and other aesthetic objects are related to our more general aesthetic experience.

This book examines and re-imagines the turbulent and intertwined lives of Akiko Yosano (1878–1942) and Tekkan Yosano (1873–1935), two poets who sparked a revolution in the world of Japanese ‘tanka’ (short-verse classical poetry).

Born in provincial Sakai, in the Osaka prefecture, the young Akiko defied expectation to become a female poet, a calling through which she met Tekkan Yosano, the figurehead poet of the iconic literary journal 'Myojo' and who would eventually become her husband. The author explores the effect of their passionate and at times tormented relationship on their hugely influential work, as well as describing each of their childhoods, as she uses documentary sources along with her storytelling abilities in order to evoke the intimate details of their lives, together and apart. The story of these two poets is interwoven with those of the other poets and family who surrounded them, while these personal stories are also situated within their wider historical context.

Sensitively and beautifully translated by Meredith McKinney, this is an intimate and personal exploration of the compelling lives of these two Japanese poets, in what the author calls 'a love letter' to their memories.

‘A “Treatise on Abundance” (1638) and Early Modern Views of Poverty and Famine’ is an edited English translation of Carlo Tapia’s ‘Trattato dell’abondanza’.

Tapia (1565–1643) lived and worked in Naples, at the time the largest city in Italy and in the Spanish global empire, one of the three largest cities in Europe and a major center of artistic, musical and intellectual life in Baroque Europe. Tapia had a very distinguished career in the Spanish administration of the Kingdom of Naples and of Spanish Italy, generally serving in many offices across the kingdom, in Naples itself and in Madrid where, in 1612–24, he was a member of the Consejo de Italia (Council on Italy), the Spanish monarchy’s pre-eminent body to govern its various Italian possessions. Tapia had deep classical and juridical knowledge, and also rich experience as an administrator, including at the local level, all of which he brought to bear in the ‘Trattato’.

In the ‘Trattato’, Tapia tackled the question of how to provision the city with essential foodstuffs, a central issue for all early modern governments, and more generally the issue of how to prevent or combat famine across the kingdom’s largely rural provinces. The treatise represents the earliest systematic attempt to develop and publicize the most effective tools available to governments to fight famine and poverty. In particular, Tapia moved the discussion of these issues away from traditional religious approaches and aimed instead to offer both a theoretical understanding of the issues (based in part on his study of both classical sources and contemporary legal theories) and practical advice that could help administrators both in the provinces and in the capital.

The contemporary importance of A. N. Whitehead (1861–1947) lies in his direct yet productive challenge to the culture of thought inherent in modernity, a challenge that suffuses science, social theory and philosophy alike. Unlike some of the more destructive aspects of postmodernism and poststructuralism, Whitehead’s diagnosis of the conceptual fault lines of the modern era does not entail a passive relativism. Instead, he calls for a renewal of our concepts, offering a positive, philosophical approach based on becoming, relativity, and a reconception of subjectivity and the social. This book outlines Whitehead’s philosophy, using it to reorient a range of specific questions and topics within contemporary social theory, namely: the relation of language and the body; the relationship between the individual and society; sexual difference; conceptions of nature; the question of realism; the concept of the social; and capitalism as a process. It also provides detailed analyses and comparisons of Whitehead’s concepts with those of Judith Butler on materiality and the body, and of Luce Irigaray on nature, essentialism and sexual difference.

The contemporary importance of A. N. Whitehead (1861–1947) lies in his direct yet productive challenge to the culture of thought inherent in modernity, a challenge that suffuses science, social theory and philosophy alike. Unlike some of the more destructive aspects of postmodernism and poststructuralism, Whitehead’s diagnosis of the conceptual fault lines of the modern era does not entail a passive relativism. Instead, he calls for a renewal of our concepts, offering a positive, philosophical approach based on becoming, relativity, and a reconception of subjectivity and the social. This book outlines Whitehead’s philosophy, using it to reorient a range of specific questions and topics within contemporary social theory, namely: the relation of language and the body; the relationship between the individual and society; sexual difference; conceptions of nature; the question of realism; the concept of the social; and capitalism as a process. It also provides detailed analyses and comparisons of Whitehead’s concepts with those of Judith Butler on materiality and the body, and of Luce Irigaray on nature, essentialism and sexual difference.

‘Aboard the Democracy Train’ is about politics and journalism in Pakistan. It is a gripping front-line account of the country’s decade of turbulent democracy (1988-1999), as told through the eyes of the only woman reporter working during the Zia era at ‘Dawn’, Pakistan’s leading English language newspaper. In this volume, the author reveals her unique experiences and coverage of ethnic violence, women’s rights and media freedoms. The narrative provides an insight into the politics of the Pak-Afghan region in the post 9-11 era, and exposes how the absence of rule of law claimed the life of its only woman prime minister.

The book is set during Pakistan's decade of turbulent democracy, which began when President Gen. Zia ul Haq's military rule abruptly ended with his plane crash. Then, as the only woman reporter at the nation's leading newspaper 'Dawn', the author was closely associated with late Benazir Bhutto's bid to become and remain the nation's first woman Prime Minister.

The book comes full circle from the Cold War era, when the events of September 11 forced Pakistan's military leaders to re-enter the U.S. orbit of influence. It is an account of why Benazir Bhutto fell victim to terrorism while her widower Asif Zardari is described as having taken on of the world's most daunting tasks of negotiating between a superpower and the military, amid a ferocious resurgence by the Taliban.

The Aboriginal art movement flourished during a period in which the Australian public were awakened to the implications of the state’s decision to confront the legacies of colonisation and bring Aboriginal culture into the heart of national public life. Rather than seeing this radical political and social transformation as mere context for Aboriginal art’s emergence, this study argues that Aboriginal art has in fact mediated Australian society’s negotiation of the changing status of Aboriginal culture over the last century. This argument is illustrated through the analysis of Aboriginal art’s volatility as both a high art movement and a phenomenon of visual and commercial culture. This analysis reveals the agendas to which Aboriginal art has been anchored at the nexus of the redemptive project of the settler state, Indigenous movements for rights and recognition, and the aspirations of progressive civil society.

At its heart this study is concerned with the broader social and cultural insights that can be gleaned from conducting a sustained inquiry into Aboriginal art’s contested meanings. To achieve this it focuses upon the hopeful and disenchanted faces of the Aboriginal art phenomenon: the ideals of cultural revitalisation and empowerment that have converged upon the art, and the countervailing narratives of exploitation, degradation and futility. Both aspects are traced through a range of settings in which the tensions surrounding Aboriginal art’s aesthetic, political and significance have been negotiated. It is in this dialectic that the vexed ethical questions underlying Australia’s settler state condition can most clearly be identified, and we can begin to navigate the paradoxes and impasses underlying the redemptive national project of the post-assimilation era. 

The Aboriginal art movement flourished during a period in which the Australian public were awakened to the implications of the state’s decision to confront the legacies of colonisation and bring Aboriginal culture into the heart of national public life. Rather than seeing this radical political and social transformation as mere context for Aboriginal art’s emergence, this study argues that Aboriginal art has in fact mediated Australian society’s negotiation of the changing status of Aboriginal culture over the last century. This argument is illustrated through the analysis of Aboriginal art’s volatility as both a high art movement and a phenomenon of visual and commercial culture. This analysis reveals the agendas to which Aboriginal art has been anchored at the nexus of the redemptive project of the settler state, Indigenous movements for rights and recognition, and the aspirations of progressive civil society.

At its heart this study is concerned with the broader social and cultural insights that can be gleaned from conducting a sustained inquiry into Aboriginal art’s contested meanings. To achieve this it focuses upon the hopeful and disenchanted faces of the Aboriginal art phenomenon: the ideals of cultural revitalisation and empowerment that have converged upon the art, and the countervailing narratives of exploitation, degradation and futility. Both aspects are traced through a range of settings in which the tensions surrounding Aboriginal art’s aesthetic, political and significance have been negotiated. It is in this dialectic that the vexed ethical questions underlying Australia’s settler state condition can most clearly be identified, and we can begin to navigate the paradoxes and impasses underlying the redemptive national project of the post-assimilation era. 

Part I of this book gives particular attention to freedom as an “aesthetic idea” that informs certain philosophical discussions of freedom in Kant, Schelling, Nietzsche, Sartre, Camus and Isaiah Berlin. The critical concept of “positive freedom” is discussed in the first chapter and continues to inform the entire book. In Part II, the more “practical” application of these ideas with respect to certain “zones” of freedom such as academia (“academic freedom”), religion (“religious freedom”), art (“artistic freedom”), “free speech,” and “political freedom” are discussed Finally, in the Epilogue, the surprising relationship of “friendship” to “freedom” that begins with their close etymological relationship is discussed.

‘Action! Interviews with Directors from Classical Hollywood to Contemporary Iran’ presents nineteen outstanding interviews with directors past and present, from around the world, working in a variety of genres and budgets and production environments from major studios to indie and DIY. The result is a vibrant group portrait of the filmmaking art, a kind of festival in words that explores everything from the enormous creative and personal satisfactions of filmmaking to the challenges and frustrations that range from meddlesome studio heads to state censorship. These articulate auteurs include iconic figures Fellini and Truffaut (in his moving final interview), avant-garde masters Otto Muehl and the Brothers Quay, social critics Barbara Kopple and Allie Light, mainstream mavericks Robert Wise and Douglas Sirk, and eleven others. While their work (and working methods) varies widely, these directors share the status of pioneer and subversive, fighting – sometimes against great odds – to put their unique vision onscreen.

‘Action! Interviews with Directors from Classical Hollywood to Contemporary Iran’ presents nineteen outstanding interviews with directors past and present, from around the world, working in a variety of genres and budgets and production environments from major studios to indie and DIY. The result is a vibrant group portrait of the filmmaking art, a kind of festival in words that explores everything from the enormous creative and personal satisfactions of filmmaking to the challenges and frustrations that range from meddlesome studio heads to state censorship. These articulate auteurs include iconic figures Fellini and Truffaut (in his moving final interview), avant-garde masters Otto Muehl and the Brothers Quay, social critics Barbara Kopple and Allie Light, mainstream mavericks Robert Wise and Douglas Sirk, and eleven others. While their work (and working methods) varies widely, these directors share the status of pioneer and subversive, fighting – sometimes against great odds – to put their unique vision onscreen.

Across the past two centuries, the Western novel has propagated the narrow view of the addict as a toxic force bent on undermining the rationality, morality, and progressive spirit that have, since the Enlightenment, defined civilization in the West. Addiction, Representation undertakes an investigation into an alternative literary tradition within which the addict is neither doomed to a horrific death nor sacrificed to the Twelve Steps so that the “recovering addict” might survive. At the center of this investigation is a modest collection of contemporary novels, originally published in the thirty-year span between 1985 and 2015, that exhibits experimental narrative techniques and, in doing so, unsettles the limited portrayal of the addict that has dominated the Western realistic novel since the nineteenth century.

Examining the works of John O’Brien, Sara Gran, Paula Hawkins, Bret Easton Ellis, and Grace Krilanovich, the book argues that the ways in which readers occupy the narratives of contemporary experimental fiction can be instructive for how to live in an extra-diegetic world, where attitudes toward addicts often are as narrow, restrictive, and damaging as they historically have been expressed in the Western novel. The book concerns itself with the practices and politics of reading the experimental addiction novel, and outlines both a practice and an ethics of reading that advocates for a more compassionate response not only to fictional addicts, but also to the actual addicts whose lived experiences gave birth to the existing fiction.

Across the past two centuries, the Western novel has propagated the narrow view of the addict as a toxic force bent on undermining the rationality, morality, and progressive spirit that have, since the Enlightenment, defined civilization in the West. Addiction, Representation undertakes an investigation into an alternative literary tradition within which the addict is neither doomed to a horrific death nor sacrificed to the Twelve Steps so that the “recovering addict” might survive. At the center of this investigation is a modest collection of contemporary novels, originally published in the thirty-year span between 1985 and 2015, that exhibits experimental narrative techniques and, in doing so, unsettles the limited portrayal of the addict that has dominated the Western realistic novel since the nineteenth century.

Examining the works of John O’Brien, Sara Gran, Paula Hawkins, Bret Easton Ellis, and Grace Krilanovich, the book argues that the ways in which readers occupy the narratives of contemporary experimental fiction can be instructive for how to live in an extra-diegetic world, where attitudes toward addicts often are as narrow, restrictive, and damaging as they historically have been expressed in the Western novel. The book concerns itself with the practices and politics of reading the experimental addiction novel, and outlines both a practice and an ethics of reading that advocates for a more compassionate response not only to fictional addicts, but also to the actual addicts whose lived experiences gave birth to the existing fiction.

This book presents a new theater play, For Three Refrigerators and a Washing Machine, along with a thorough introduction that provides historical context and theoretical framing. The play with the enigmatic title tells the poignant and forgotten stories of international child adoptions from Greece in the 1950s and the 1960s. It offers an in-depth exploration of the first postwar mass international adoption movement, unveiling the emotional and even existential challenges faced by those involved. Based on an authentic playscript, the book creates awareness about what has not been said, should be said, but still cannot be said about the losses involved in the permanent uprooting of children and teenagers. It tackles the primal questions of “Where do I come from?” and “What happened to the child I relinquished for adoption abroad?” And why did nobody foresee that adopted children become adopted adults who ask critical questions about origins, procedures, and aftercare?
Thus, the book boldly reflects on the complexities and profound losses associated with displacing children and perpetuating taboos. Also, it reveals multiple connections to similar adoption movements worldwide, which include countries (and histories) of origin such as Ireland, South Korea, Vietnam, and several states in Central and South America. This thought-provoking book poses critical questions about identity and belonging that far exceed the Greek setting and continue to be relevant today.

‘Adult Reactions to Popular Music and Inter-generational Relations in Britain, 1955–1975’ challenges the often unquestioned assumption that ‘the older generation’ largely reacted in a negative or hostile fashion to forms of music popular with young people in Britain from the 1950s to the mid-1970s (including rock ’n’ roll, skiffle, ‘beat’ and rock music), and that the music invariably exacerbated inter-generational tensions. Utilizing extensive primary evidence, from first-person accounts to newspapers, television programmes, surveys and archive collections, the book demonstrates the considerable variety which frequently characterized adult responses to the music, whilst also highlighting that the impact of the music on inter-generational relations was more complex than is often assumed. There has been a growing recognition among scholars of the need to reassess the alleged ‘generation gap’ of this era, but this theme has yet to be examined in depth via the prism of popular music. [NP] The book is also distinctive in the thematic approach it adopts. Rather than attempting a chronological survey, it identifies three key arenas of British society in which adult responses to popular music, and the impact of such reactions upon relations between generations, seem particularly revealing and significant, and explores them in considerable depth. The first chapter examines the place of popular music within family life, the second focuses on the Christian churches and their engagement with popular music, particularly within youth clubs, and the third explores ‘encounters’ between the worlds of traditional Variety entertainment and popular music. The work offers detailed appraisals of each of these areas, while also providing fresh perspectives on this most dynamic and turbulent of periods.

While each chapter possesses a certain cohesion in its own right, illuminating and adding fresh perspectives on key topics within post-war British history, certain key ideas reappear throughout the work. The nature and significance of ‘everyday’ multi-generational consumption of popular music constitutes one such theme, as does the manner in which the highly varied, and ever-evolving, character of ‘pop’ in this era frequently, and in various ways, rendered it more accessible to older people and more capable of traversing generational boundaries. The final unifying theme concerns the distinctive way in which ‘old’ and ‘new’ cultural forces continued to interact in the lives of young and old during this transitional era.

Our world is a world of pain and suffering—at the individual level of private lives as well as the level of historical and political events. The familiar examples of suffering we need to engage with range from everyday unpleasantness, such as a prolonged illness, to massive horrors epitomized in world wars and genocides, such as, at the extreme, the Holocaust. We know, in most cases, how to explain these evils: medical science tells us how and why illnesses occur, geology explains earthquakes, and history and social psychology explain what happened at the darkest moments of our civilization, and why. However, even when everything has been explained, many of us feel that we still fail to properly understand why unspeakable events like brutal mass murders and war crimes happen. Those with religious convictions may wonder why God, if God exists, allows such things to exist. The theological and philosophical tradition of theodicy is an influential attempt to respond to such questions focusing not so much on explaining suffering but on the normative question of justifying suffering.
This book introduces antitheodicy as a critical ethical response to the problem of evil and suffering. While the mainstream debate on this problem in the philosophy of religion continues to focus on theodicies seeking to justify or excuse God’s allowing that there is apparently meaningless suffering, this introduction not only explains why an antitheodicist alternative is ethically superior to such attempts but also, more importantly, extends the antitheodicist approach from the philosophy of religion to broader ethical engagements with suffering. Sketching some of the historical milestones of antitheodicist thought as well as the most important contemporary versions of antitheodicy, the book argues that antitheodicy is the only decent account of suffering and that theodicies are incompatible with ethical seriousness. Theodicies tend to instrumentalize suffering in the service of some imagined overall good, or a metaphysical scheme failing to recognize the individual perspective of the victim. The significance of this essentially ethical argument against theodicies reaches far beyond the philosophy of religion, as the theodicy versus antitheodicy opposition also has interesting secular varieties. Any explicit or implicit instrumentalization of suffering in the service of real or imagined overall goodness may be claimed to be quasi-theodicist, even if it has nothing to do with religious or theological attempts to justify suffering. Antitheodicist critique is therefore needed across a range of ethical and political problems.

Our world is a world of pain and suffering—at the individual level of private lives as well as the level of historical and political events. The familiar examples of suffering we need to engage with range from everyday unpleasantness, such as a prolonged illness, to massive horrors epitomized in world wars and genocides, such as, at the extreme, the Holocaust. We know, in most cases, how to explain these evils: medical science tells us how and why illnesses occur, geology explains earthquakes, and history and social psychology explain what happened at the darkest moments of our civilization, and why. However, even when everything has been explained, many of us feel that we still fail to properly understand why unspeakable events like brutal mass murders and war crimes happen. Those with religious convictions may wonder why God, if God exists, allows such things to exist. The theological and philosophical tradition of theodicy is an influential attempt to respond to such questions focusing not so much on explaining suffering but on the normative question of justifying suffering.
This book introduces antitheodicy as a critical ethical response to the problem of evil and suffering. While the mainstream debate on this problem in the philosophy of religion continues to focus on theodicies seeking to justify or excuse God’s allowing that there is apparently meaningless suffering, this introduction not only explains why an antitheodicist alternative is ethically superior to such attempts but also, more importantly, extends the antitheodicist approach from the philosophy of religion to broader ethical engagements with suffering. Sketching some of the historical milestones of antitheodicist thought as well as the most important contemporary versions of antitheodicy, the book argues that antitheodicy is the only decent account of suffering and that theodicies are incompatible with ethical seriousness. Theodicies tend to instrumentalize suffering in the service of some imagined overall good, or a metaphysical scheme failing to recognize the individual perspective of the victim. The significance of this essentially ethical argument against theodicies reaches far beyond the philosophy of religion, as the theodicy versus antitheodicy opposition also has interesting secular varieties. Any explicit or implicit instrumentalization of suffering in the service of real or imagined overall goodness may be claimed to be quasi-theodicist, even if it has nothing to do with religious or theological attempts to justify suffering. Antitheodicist critique is therefore needed across a range of ethical and political problems.

Since the inception of cinema in the late nineteenth century, filmmakers have employed a wide array of precursory aesthetic strategies in the conception and creation of their disparate works. The existence of these traditional antecedents have afforded filmmakers a diverse range of technical and artistic applications towards the construction of their cinematic narratives. Furthermore, the socio-political and cultural contexts in which films are conceived often inform the manner in which particular aesthetic sensibilities are selected and deployed. Unfortunately, many creative artists – and audiences – remain unfamiliar with Aesthetics as a practical discipline and how it might apply to their own creative and/or interpretive pursuits.

‘Aesthetics and the Cinematic Narrative’ provides a concise historical survey of Aesthetics as a philosophical discipline and applies several of its underlying principles to the examination of filmic storytelling. The book’s four chapters codify working definitions of the relevant terms and concepts, employing specific case studies to illustrate how certain aesthetic stratagems govern a film’s structural design and execution. By drawing connections between the technical/creative decisions filmmakers must make and more time-honoured traditions regarding the nature of art, the structures of storytelling and the import of visual imagery, ‘Aesthetics and the Cinematic Narrative’ helps recontextualize film within a wider sphere of artistic/intellectual endeavour. The book is a useful and much-needed addition to the pre-existing canon for students of visual storytelling and for general readers.

Since the inception of cinema in the late nineteenth century, filmmakers have employed a wide array of precursory aesthetic strategies in the conception and creation of their disparate works. The existence of these traditional antecedents have afforded filmmakers a diverse range of technical and artistic applications towards the construction of their cinematic narratives. Furthermore, the socio-political and cultural contexts in which films are conceived often inform the manner in which particular aesthetic sensibilities are selected and deployed. Unfortunately, many creative artists – and audiences – remain unfamiliar with Aesthetics as a practical discipline and how it might apply to their own creative and/or interpretive pursuits.

‘Aesthetics and the Cinematic Narrative’ provides a concise historical survey of Aesthetics as a philosophical discipline and applies several of its underlying principles to the examination of filmic storytelling. The book’s four chapters codify working definitions of the relevant terms and concepts, employing specific case studies to illustrate how certain aesthetic stratagems govern a film’s structural design and execution. By drawing connections between the technical/creative decisions filmmakers must make and more time-honoured traditions regarding the nature of art, the structures of storytelling and the import of visual imagery, ‘Aesthetics and the Cinematic Narrative’ helps recontextualize film within a wider sphere of artistic/intellectual endeavour. The book is a useful and much-needed addition to the pre-existing canon for students of visual storytelling and for general readers.

This book is about contemporary Brazilian fiction from the past two decades and concerned with the possibilities of literary intervention in the reality of the historical moment. Thus, an understanding of the actual role of literature is strategic in the definition of the contemporary, and the book shows an optimism among current writers and artists with respect to the aesthetic, ethical, and political role of literature and art in the twentieth century. 

In contemporary Brazilian prose, two simultaneous ambitions are often reconciled. The commitment to individual or social reality is a challenge that is assumed without thereby necessarily accepting and following the molds of the traditional search for national or cultural identities. This foundation is one of the constants of contemporary prose, without thereby eliminating the continuous existence of a formal experimentalism that is the clearest heir of the modernist project.

Recent literary studies of Brazil generally accept that there was a transformation in the 1960s and 1970s, from a narrative mainly situated in regional areas or the backlands, to the appearance of the big city as a contradictory scenario for national literature. Novelists and short story writers who are consolidated at that time encounter in the big cities of São Paulo and Rio de Janeiro a reality that not only brought a promise of modernity, but also produced a civic marginality that came with extreme poverty, violence, and organized crime. In the 1990s and 2000s, a generation of writers appeared who revived programmatic principles of this urban prose and who began the new century with a new demand for the real. Such a demand included references from historical realism and at the same time preserved a desire to experiment aesthetically in search of effects and affects, through a performative writing that was articulated in the translation of the historical temporality, mainly in the exploration of a lived presence. The narratives discussed are situated in a spatial referentiality that abandons the imaginary construction of the nation, an important task of modern literature, in favor of stories that are globalized by exploring ways to include Brazilian culture and language in new international networks.

This book is about contemporary Brazilian fiction from the past two decades and concerned with the possibilities of literary intervention in the reality of the historical moment. Thus, an understanding of the actual role of literature is strategic in the definition of the contemporary, and the book shows an optimism among current writers and artists with respect to the aesthetic, ethical, and political role of literature and art in the twentieth century. 

In contemporary Brazilian prose, two simultaneous ambitions are often reconciled. The commitment to individual or social reality is a challenge that is assumed without thereby necessarily accepting and following the molds of the traditional search for national or cultural identities. This foundation is one of the constants of contemporary prose, without thereby eliminating the continuous existence of a formal experimentalism that is the clearest heir of the modernist project.

Recent literary studies of Brazil generally accept that there was a transformation in the 1960s and 1970s, from a narrative mainly situated in regional areas or the backlands, to the appearance of the big city as a contradictory scenario for national literature. Novelists and short story writers who are consolidated at that time encounter in the big cities of São Paulo and Rio de Janeiro a reality that not only brought a promise of modernity, but also produced a civic marginality that came with extreme poverty, violence, and organized crime. In the 1990s and 2000s, a generation of writers appeared who revived programmatic principles of this urban prose and who began the new century with a new demand for the real. Such a demand included references from historical realism and at the same time preserved a desire to experiment aesthetically in search of effects and affects, through a performative writing that was articulated in the translation of the historical temporality, mainly in the exploration of a lived presence. The narratives discussed are situated in a spatial referentiality that abandons the imaginary construction of the nation, an important task of modern literature, in favor of stories that are globalized by exploring ways to include Brazilian culture and language in new international networks.

Explores innovative planning and design strategies to tackle housing affordability, offering case studies and solutions that enhance livability, community resilience, and opportunity, from urban scale to home design.

New socio-economic and environmental realities have brought about a “perfect storm” of circumstances that are forcing a search for innovative solutions in the built residential environment, including affordable housing design and construction. The need to rethink planning practices and align them with contemporary environmental constraints has taken center stage in recent years. The depletion of non-renewable resources, elevated levels of greenhouse gas emissions, and climate change are a few of the challenges that force designers to reconsider conceptual approaches in favor of ones that promote a better suitability between built and natural environments. Consideration of concepts that lower a place’s carbon footprint by minimizing driving, using renewable energy, and preserving the site’s natural assets is one of the contemporary strategies that architects, planners, and builders are integrating into their philosophy and practice.
Given these emerging challenges, the need to think innovatively about planning affordable communities while learning from notable case studies is at the heart of the proposed book. The intention is to explore principles and to present outstanding international case studies that offer valuable lessons.
The book is also about livability—where design touches life and the big and small things that make people appreciate homes and neighborhoods. Livability has become an increasingly important lens with which to analyze a city, considering population demands, built infrastructure, and ecosystems. Community requirements for goods and services, in relation to what is available to a population is an indication of a place’s livability. To foster livable, affordable communities throughout all the stages of life, the social, environmental, and structural needs of a place should be considered and planned for through innovative designs and policies.
The material assembled can be of help to planners, architects, and builders designing and planning a large community or individual homes. It can be used by for-profit firms or nonprofit organizations planning on initiating ownership or rental accommodations. Although some of the standards described in the book are relevant to the North American market, its basic principles can be used internationally. Similarly, even though many of the designs described here are for mid- to low-rise wood-frame structures, their concepts are applicable to tall, large buildings.

‘Africa and Economic Policy: Developing a Framework for Policymakers’ aims to fill an important gap in the current literature on economic policy in developing countries. Despite its richness and sophistication, the current economic literature has not yet succeeded in developing a framework for economic policy that is clear and intelligible to economic policymakers, and which is capable of effectively delivering a sustained increase in citizens’ well-being – something that developing countries’ policymakers, particularly those in Africa, are striving for.

This ground-breaking study seeks to rectify this problem by suggesting a unique conceptual framework for designing and conducting policy in developing countries, and primarily presents its proposals in an African context. In doing so, the volume addresses one of the major shortcomings of developing country economic policy literature as it now stands.

‘Africa and Economic Policy: Developing a Framework for Policymakers’ aims to fill an important gap in the current literature on economic policy in developing countries. Despite its richness and sophistication, the current economic literature has not yet succeeded in developing a framework for economic policy that is clear and intelligible to economic policymakers, and which is capable of effectively delivering a sustained increase in citizens’ well-being – something that developing countries’ policymakers, particularly those in Africa, are striving for.

This ground-breaking study seeks to rectify this problem by suggesting a unique conceptual framework for designing and conducting policy in developing countries, and primarily presents its proposals in an African context. In doing so, the volume addresses one of the major shortcomings of developing country economic policy literature as it now stands.

The changing nature of African landscapes, from rural to urbanized spaces, has been a pre-occupation of African media producers since the beginnings of the African film industry in the 1960s. In the six chapters in the book, the authors bring together several examples of African documentary and fiction screen media that present, evaluate and criticize urban and rural landscapes, and the rural and urban dynamic of development, in relation to contemporary issues, from biodiversity, sustainability and deforestation, to inequity, women’s rights, political instability, to climate change-related themes of water and food supply, security and sovereignty. These works, comprising multi-platform cinema, streamed moving images and especially documentaries, depict the situations and open the door to rethinking and eventually to the possibilities of proposals responding to the situations portrayed. Screen media convey important visual information regarding the urban and rural built environments in Africa, relative to numerous geographic zones projected for major change and development over the next 30 years. Rapid spontaneous urban development will characterize the landscape of the African continent up until 2050, and urbanization has taken many forms, primarily unplanned. Yet, urban centres and cities have an important cultural weight since they often represent both a remnant of colonization (as colonial metropoles) and an opportunity for cultural place-making and belonging. Furthermore, African cities also serve as sites of negotiation because they are cultural melting pots offering the possibility to navigate and create identities that could not be created in rural areas.

A main goal of this book is to contribute to critical discourse and to knowledge resources to assess, critique and propose directions in contemporary urban and settlement development, in the face of rapid spontaneous urbanization of landscapes in a context of climate change and housing need. The book aims to study, track, set out and present options for landscapes and cities in Africa that are intrinsic to African culture via documentary and narrative cinema, incorporating diverse platforms of screen media. We use the term “African screen media'' to denote media presentation on various formats and platforms. This is also born out of our recognition of the fact that the term “African cinema” assumes a certain homogeneity throughout a continent of 53 countries, and that “the idea of an African cinema” has evolved with many critics to “African Cinemas” and even to the now widely used term that many scholars of African media prefer, “African screen media” (Dovey 2009, 2). This term also addresses the multiple platforms and formats representing the atomization and fracturing of distribution in contemporary streaming.

This work brings together theories and practices from the disciplines of urbanism, architecture and African cinema studies to examine some examples of how African artists are bringing attention to issues of urban precarity, climate change, survival and growth, and creativity on the continent. Theoretical references include Felwine Sarr's theory of ‘Afrotopias’ or ‘Afrotopos’ whereby the continent is a site of creative potential. Another theoretical influence with significant impact is the term "Black urbanism" as used by AbdouMaliq Simone for contemporary African cities. An alternative to modernist Western urbanism, this concept is structured around informality, creativity and improvisation.

Oral traditions and creative oratures have been celebrated in African studies over the years, specifically from the 1950s, as the most important and viable correspondence, aside from material artifacts, between social “archeologists” attempting to penetrate the African preliterate past and the social-political and economic productions of that same past.

In the memoirs chosen for this book, oral traditions are braided with personal experiences in the formation of the self, providing the basis of some African literary outputs and championed as having the ability to engineer the African knowledge system in global academe. In this regard, this work stressesthe concept that most memoir writing scholars feel that the production and presentation of the autobiographical self aredependent on the categories of individualism and relationality.

The memoirists depict their own identities in their tales as not simply a part of their society but also one strongly impacted by prominent persons in their many lived settings. The bookdiscusses an approach that enables West African memoirists to review their cultural backgrounds in the light of living in other spaces and acquiring different experiences.

Oral traditions and creative oratures have been celebrated in African studies over the years, specifically from the 1950s, as the most important and viable correspondence, aside from material artifacts, between social “archeologists” attempting to penetrate the African preliterate past and the social-political and economic productions of that same past.

In the memoirs chosen for this book, oral traditions are braided with personal experiences in the formation of the self, providing the basis of some African literary outputs and championed as having the ability to engineer the African knowledge system in global academe. In this regard, this work stressesthe concept that most memoir writing scholars feel that the production and presentation of the autobiographical self aredependent on the categories of individualism and relationality.

The memoirists depict their own identities in their tales as not simply a part of their society but also one strongly impacted by prominent persons in their many lived settings. The bookdiscusses an approach that enables West African memoirists to review their cultural backgrounds in the light of living in other spaces and acquiring different experiences.

Jews had lived with us for a thousand years. Then they were killed. Why? Had the Shoah always been brewing in these lands, or could it only happen under the conditions of late capitalism rather than in the atmosphere of primitive pogroms, the violent expulsion of Jews from their Anatevkas? An important point of reference for the author’s reflections are the postulates of the representatives of the Frankfurt School – in particular of Max Horkheimer and Theodor W. Adorno’s Dialectic of Enlightenment – who were the first to draw attention to the potentially criminal character of instrumental reason, disavowing at the same time the tradition of the siècle des Lumières, the approach which the author is inclined towards. Yet they looked for the causes of the Shoah not where these could be found, either in the “authoritarian personality” or in the difficulties of living, in the so-called “social question.” However, in order to understand what happened to the Jews in Central and Eastern Europe in the 1940s, one must resort to a language completely different from psychological, social, economic, or police discourse. We must resort to the forgotten language – or better said, the language that is being forgotten – of theology, especially political theology. It is there, the author claims, that one can find the right interpretative tools. It does not belong to the realm of superstition but is our last chance to understand what happened to the world yesterday and what is happening to it today. “It was the devil!” writes Alain Besançon, a witness of those times, “He was the one who communicated his inhuman personality to his subjects.” We do not know this for sure – maybe yes, maybe no. We do know, however, that it is good that a theological category – the concept of the devil, Antichrist – is returning to the philosophical and, more broadly, social and political discourse. The devil, Antichrist is not just a metaphor or a creature with a limp in the left leg and charred wings; it is rather the atmosphere we live in, manifesting itself in turning traditional values inside out, in replacing respect with tolerance, charity with dubious philanthropy, love with sex, family with any social organization, religion with science, freedom with safety and so on. Examples abound.

The author proposes to renew the sense of such theological concepts as eternity, salvation, the idea of chosenness, apocalypse, radical hope, and others, only to better understand the condition of today’s world and its increasingly aggressive attitude towards people of strong faith, which may fill us with anxiety and make us think of the recurrence of the Shoah.

There are no more Jews in Poland. They had been murdered by the German Nazis, and those who survived were expelled by the Polish communists after the war. We live in a world “after Jews.” Now we must tell ourselves what it means to us. It is important for them and for us. Important for the world.

Jews had lived with us for a thousand years. Then they were killed. Why? Had the Shoah always been brewing in these lands, or could it only happen under the conditions of late capitalism rather than in the atmosphere of primitive pogroms, the violent expulsion of Jews from their Anatevkas? An important point of reference for the author’s reflections are the postulates of the representatives of the Frankfurt School – in particular of Max Horkheimer and Theodor W. Adorno’s Dialectic of Enlightenment – who were the first to draw attention to the potentially criminal character of instrumental reason, disavowing at the same time the tradition of the siècle des Lumières, the approach which the author is inclined towards. Yet they looked for the causes of the Shoah not where these could be found, either in the “authoritarian personality” or in the difficulties of living, in the so-called “social question.” However, in order to understand what happened to the Jews in Central and Eastern Europe in the 1940s, one must resort to a language completely different from psychological, social, economic, or police discourse. We must resort to the forgotten language – or better said, the language that is being forgotten – of theology, especially political theology. It is there, the author claims, that one can find the right interpretative tools. It does not belong to the realm of superstition but is our last chance to understand what happened to the world yesterday and what is happening to it today. “It was the devil!” writes Alain Besançon, a witness of those times, “He was the one who communicated his inhuman personality to his subjects.” We do not know this for sure – maybe yes, maybe no. We do know, however, that it is good that a theological category – the concept of the devil, Antichrist – is returning to the philosophical and, more broadly, social and political discourse. The devil, Antichrist is not just a metaphor or a creature with a limp in the left leg and charred wings; it is rather the atmosphere we live in, manifesting itself in turning traditional values inside out, in replacing respect with tolerance, charity with dubious philanthropy, love with sex, family with any social organization, religion with science, freedom with safety and so on. Examples abound.

The author proposes to renew the sense of such theological concepts as eternity, salvation, the idea of chosenness, apocalypse, radical hope, and others, only to better understand the condition of today’s world and its increasingly aggressive attitude towards people of strong faith, which may fill us with anxiety and make us think of the recurrence of the Shoah.

There are no more Jews in Poland. They had been murdered by the German Nazis, and those who survived were expelled by the Polish communists after the war. We live in a world “after Jews.” Now we must tell ourselves what it means to us. It is important for them and for us. Important for the world.

‘Ageing, Corporeality and Embodiment’ argues that both ageing as a unitary social process and agedness as a distinct social location have become fragmented. The book concentrates  on the emergence of a ‘new ageing’ mediated in part through the processes of ‘embodiment’.

The first section provides the main theoretical context for the book, with the first chapter outlining the new ‘sociology of the body’ and the second outlining the emergence of new ageing and its ‘re-orientation’ toward the body. The second section explores the relationship between new ageing and key aspects of embodied identity, namely gender, race, disability and sexuality. In each of these sections, the authors provide a brief historical perspective on the emergence of these embodied identities as social movements during the cultural ferment of the 1960s, and explore their subsequent confrontation, or avoidance of confrontation with, the issue of ageing.

The third section covers embodied practices, from sexual practice and its re-orientation toward age and ageing, to the embodied practices of ‘appearance management’, particularly those associated with cosmetics, clothing and fashion. Finally, the book considers ‘new enhancement technologies’ of the body, such as plastic surgery, with relation to ideas of ‘rejuvenation’. By focusing upon those embodied practices that are oriented toward age and ageing, and their place in expressing, maintaining or recreating other ‘pre-performed’ identities, the work allows a more embodied understanding of ageing and its diverse engagements within society to be realised.

‘Ageing, Corporeality and Embodiment’ argues that both ageing as a unitary social process and agedness as a distinct social location have become fragmented. The book concentrates  on the emergence of a ‘new ageing’ mediated in part through the processes of ‘embodiment’.

The first section provides the main theoretical context for the book, with the first chapter outlining the new ‘sociology of the body’ and the second outlining the emergence of new ageing and its ‘re-orientation’ toward the body. The second section explores the relationship between new ageing and key aspects of embodied identity, namely gender, race, disability and sexuality. In each of these sections, the authors provide a brief historical perspective on the emergence of these embodied identities as social movements during the cultural ferment of the 1960s, and explore their subsequent confrontation, or avoidance of confrontation with, the issue of ageing.

The third section covers embodied practices, from sexual practice and its re-orientation toward age and ageing, to the embodied practices of ‘appearance management’, particularly those associated with cosmetics, clothing and fashion. Finally, the book considers ‘new enhancement technologies’ of the body, such as plastic surgery, with relation to ideas of ‘rejuvenation’. By focusing upon those embodied practices that are oriented toward age and ageing, and their place in expressing, maintaining or recreating other ‘pre-performed’ identities, the work allows a more embodied understanding of ageing and its diverse engagements within society to be realised.

Transnational migration studies has produced a wealth of literature on migrants’ economic, cultural, social and political practices and relationships across national borders. At least until recently, the primary focus of this literature was on younger adults, especially unskilled labour migrants from the Global South. In contrast, the question of how old age and different degrees of mobility relate to transnational practices and orientations was rarely addressed. Similarly, scholars looking at processes of aging only sporadically approached the lives of older people from a transnational vantage point.

Thus far, chiefly transnational family scholars have studied older peoples’ cross-border involvement. Studies in this field emphasize the complexities and consequences of older peoples’ situations in transnational family arrangements. However, empirical evidence of the prevalence and structuring features of older peoples’ family-related transnational practices remains scarce. Similarly, little is known about the relationship between age and specific stages in the life-course and the type and scope of older family members’ transnational engagement. Also, research on the association between different migration regimes and transnational family arrangements is scarce.

By asking how, why and to what extent do older Peruvians engage in transnational family ties and practices ‘Aging within Transnational Families’ seeks to enhance our knowledge about aging across borders. Drawing on the care circulation framework and the capacity and desire approach, it explores the motivations of older Peruvians’ transnational involvement as well as the factors influencing the scope and propensity of their cross-border practices. From a life course perspective, the book asks how age relates to older Peruvian migrants’ integration into the host society and engagement in the sending of remittances and visits of family members in Peru. Using a situated approach, a particular analytic focus is on the political and institutional contexts surrounding the older Peruvians’ transnational involvement.

Before Alessandro Michele took the creative helm at Gucci in 2015, the brand was mostly known for its sleek sophistication and sexy hedonism. Despite having worked at the Italian fashion house for over twelve years as the accessories and jewellery designer, Michele was relatively unknown in the fashion industry and the public sphere. All of that was to change when he sent his models down the runway for the 2015 Fall ready-to-wear collection in an eclectic mix of pussy-bow blouses, chiffon dresses, wallpaper prints and a motley collection of accessories, including fur-lined loafers, berets and granny-style horn-rimmed glasses. Michele’s stylistic design approach created an aesthetic reminiscent of the fashion eccentric who wears flea market finds with high-end designer and heirloom pieces – imperfect, nostalgic and maximalist. The new Gucci woman (and man) were intellectual and sensual misfits who are perfectly at home in the glamourous rag-tag aesthetic of a Wes Anderson film.
With his inaugurate collection, Michele tapped into the zeitgeist that was yearning for a more colourful and playful design, and a disregard of traditional gender divisions: while Gucci has hitherto showcased its men’s and women’s collections separately, as well as favoured traditional masculine and feminine looks respectively, Michele broke with the idea of a gender binary, ushering in gender fluidity and a new fantastical vision of masculinity.
Although his collections were spectacular in their scope (the Fall/Winter 2017 consists of roughly 120 looks), the designs are also a testimony to his ability to scramble signifiers of gender, pop culture, history and time. Referencing and borrowing from philosophical concepts and ideas, such as the infamous Cyborg collection (Gucci Fall/Winter 2019) that envisioned subjectivities beyond the confines of the human body with replica heads or extra eyes on their hands; the Fall/Winter 2016 collection titled ‘Rhizomatic Scores’, referencing Deleuze and Guattari’s influential concept; or the Fall/Winter 2020 menswear collection titled ‘Masculine, Plural’ that referenced Butler’s notion of gender performativity, Michele exemplifies a fashion auteur who knows how to play not only with gender signifiers but also with signifiers of time, culture and species.

Before Alessandro Michele took the creative helm at Gucci in 2015, the brand was mostly known for its sleek sophistication and sexy hedonism. Despite having worked at the Italian fashion house for over twelve years as the accessories and jewellery designer, Michele was relatively unknown in the fashion industry and the public sphere. All of that was to change when he sent his models down the runway for the 2015 Fall ready-to-wear collection in an eclectic mix of pussy-bow blouses, chiffon dresses, wallpaper prints and a motley collection of accessories, including fur-lined loafers, berets and granny-style horn-rimmed glasses. Michele’s stylistic design approach created an aesthetic reminiscent of the fashion eccentric who wears flea market finds with high-end designer and heirloom pieces – imperfect, nostalgic and maximalist. The new Gucci woman (and man) were intellectual and sensual misfits who are perfectly at home in the glamourous rag-tag aesthetic of a Wes Anderson film.
With his inaugurate collection, Michele tapped into the zeitgeist that was yearning for a more colourful and playful design, and a disregard of traditional gender divisions: while Gucci has hitherto showcased its men’s and women’s collections separately, as well as favoured traditional masculine and feminine looks respectively, Michele broke with the idea of a gender binary, ushering in gender fluidity and a new fantastical vision of masculinity.
Although his collections were spectacular in their scope (the Fall/Winter 2017 consists of roughly 120 looks), the designs are also a testimony to his ability to scramble signifiers of gender, pop culture, history and time. Referencing and borrowing from philosophical concepts and ideas, such as the infamous Cyborg collection (Gucci Fall/Winter 2019) that envisioned subjectivities beyond the confines of the human body with replica heads or extra eyes on their hands; the Fall/Winter 2016 collection titled ‘Rhizomatic Scores’, referencing Deleuze and Guattari’s influential concept; or the Fall/Winter 2020 menswear collection titled ‘Masculine, Plural’ that referenced Butler’s notion of gender performativity, Michele exemplifies a fashion auteur who knows how to play not only with gender signifiers but also with signifiers of time, culture and species.

‘Altered Destinations’ addresses the complex interrelations of state, nation and identity in India through the medium of culture, and compellingly reframes the debate in the context of the Gandhian concept of swaraj. Engaging with Gandhi’s classic text ‘Hind Swaraj’, which envisioned an entirely new form of identity and governance in India in opposition with its colonial past, Paranjape extends the discussion by exlporing  how ideas of autonomy, selfhood, and cultural independence have been expressed, depicted and studied.

Ever since human beings first travelled, cities have constituted important material and literary destinations. While the city has formed a key theme for scholars of literary fiction, travellers’ modes of writing the city have been somewhat neglected by travel studies. However, travel writing with its attention to difference provides a rich source for the study of representational ‘strategies’ and ‘tactics’ in the modern city. Tracing spatial practices of French travel writers in London and New York from1851 to the 1980s, this book contributes to a body of work that analyses travel and travel writing beyond the Anglophone context, and engages a variety of travel writing in questions surrounding French modalities for negotiating and establishing a nexus of meanings for life in the modern city. One of the central tenets of the book is that, in the way its spaces are planned, encountered and represented, the city is operational in the formulation of identities and ideologies, and the book’s guiding question is how travel and travel writing allow for the exploration of urban modernity from a perspective of exchange. Bringing together the strands of theory, context and poetic analysis, this book examines travel writing as a spatial practice of the modern city, engaging urban space in questions of nationality, power and legibility and opening avenues for the exploration of urban modernity from a position of alterity, where alternative imaginative geographies of the city might emerge.

Ever since human beings first travelled, cities have constituted important material and literary destinations. While the city has formed a key theme for scholars of literary fiction, travellers’ modes of writing the city have been somewhat neglected by travel studies. However, travel writing with its attention to difference provides a rich source for the study of representational ‘strategies’ and ‘tactics’ in the modern city. Tracing spatial practices of French travel writers in London and New York from1851 to the 1980s, this book contributes to a body of work that analyses travel and travel writing beyond the Anglophone context, and engages a variety of travel writing in questions surrounding French modalities for negotiating and establishing a nexus of meanings for life in the modern city. One of the central tenets of the book is that, in the way its spaces are planned, encountered and represented, the city is operational in the formulation of identities and ideologies, and the book’s guiding question is how travel and travel writing allow for the exploration of urban modernity from a perspective of exchange. Bringing together the strands of theory, context and poetic analysis, this book examines travel writing as a spatial practice of the modern city, engaging urban space in questions of nationality, power and legibility and opening avenues for the exploration of urban modernity from a position of alterity, where alternative imaginative geographies of the city might emerge.

The book discusses the representation of Amazonian indigenous cultures in temporary exhibitions taking place between the 1980s and 2010 through the analysis of selected case studies of these exhibitions held in major institutions in Europe, South America and the United States, including the British Museum, Musée du Quai Branly, Centre George Pompidou, Museum of Modern Art of New York, São Paulo Biennial and São Paulo Art Museum. Drawing on extensive archival research, the book is richly illustrated and presents a range of exhibition documentation never published before. 

The book takes as a starting point the theoretical discussions that emerged in the 1980s stimulating the development of notions of ‘decolonising’ or ‘indigenising’ the museum as well as of practices of collaboration between museums and indigenous communities. Forty years on from the outset of these debates, the book proposes a critical inquiry on how these discussions inflected on exhibition practices in the following decades, focusing in particular on how ‘major’ institutions (ethnographic museums, art museums and art biennials) have responded to these debates. 

The results of the research suggest that practice has fallen behind theory and that most ‘major’ institutions or museums within Europe and the United States are still only marginally engaging with Amazonian indigenous peoples in the organisation of exhibitions. The book advances the concept of ‘minor curating’ as a strategy to potentiate access of indigenous peoples to historical collections held by major institutions and to facilitate the development of cultural projects with these collections and in ways that are culturally, historically and politically effective. The book has an interdisciplinary reach contributing to the fields of visual anthropology, curatorial studies, museum studies and exhibition history and covering a geographical area that has been overlooked within these fields. 

The book discusses the representation of Amazonian indigenous cultures in temporary exhibitions taking place between the 1980s and 2010 through the analysis of selected case studies of these exhibitions held in major institutions in Europe, South America and the United States, including the British Museum, Musée du Quai Branly, Centre George Pompidou, Museum of Modern Art of New York, São Paulo Biennial and São Paulo Art Museum. Drawing on extensive archival research, the book is richly illustrated and presents a range of exhibition documentation never published before. 

The book takes as a starting point the theoretical discussions that emerged in the 1980s stimulating the development of notions of ‘decolonising’ or ‘indigenising’ the museum as well as of practices of collaboration between museums and indigenous communities. Forty years on from the outset of these debates, the book proposes a critical inquiry on how these discussions inflected on exhibition practices in the following decades, focusing in particular on how ‘major’ institutions (ethnographic museums, art museums and art biennials) have responded to these debates. 

The results of the research suggest that practice has fallen behind theory and that most ‘major’ institutions or museums within Europe and the United States are still only marginally engaging with Amazonian indigenous peoples in the organisation of exhibitions. The book advances the concept of ‘minor curating’ as a strategy to potentiate access of indigenous peoples to historical collections held by major institutions and to facilitate the development of cultural projects with these collections and in ways that are culturally, historically and politically effective. The book has an interdisciplinary reach contributing to the fields of visual anthropology, curatorial studies, museum studies and exhibition history and covering a geographical area that has been overlooked within these fields. 

The central characters in this book are the myths born of the European collective imagination about the lands beyond Europe and the beings who inhabited them. The New World was an irresistible attraction to Renaissance Europe and the great geographical discoveries of the fifteenth and sixteenth centuries represent a unique moment in history, not only on account of the technical and human feat involved but also because the discoverers came to believe that they had reached the land of legends.

This is an enthralling account of the conflicting experiences of discovering the New World, drawing upon the intriguing tales of early discovery and amazing illustrations of the day. The authors invoke the unique exhilaration of exploration, investigating the conflict between the ambitious idealism and harsh realities that have always characterized and torn the country. After all, did people not go to America in search of both the Garden of Eden and the tribes of the damned?

A beguiling account of twentieth-century America through the eyes of an outsider, a remarkable inversion of the standard 'Westerner observing the exotic' travel writing formula. Wu Tingfang wrote this book at an intriguing juncture in history - aeroplanes and motion pictures had recently been invented (and his musings on both of these have proven correct) and while he did not know it, a tremendous cultural shift was about to take place in the West due to the First World War. The unassuming and inquisitive diplomat delves into topics such as: immigration; the Arms Race and changes in technology; religion and ethics in the classroom; women's equality; fashion; violence in the theatre; vegetarianism; and cruelty to animals. His observations are enlightening and remain as relevant today as the era in which they were written. In particular, the exploration of the 'American character' and the nation's attitude toward commerce and international relations have a powerful resonance.

This study examines America's Middle East area specialists and their experience over three critical decades of foreign policy, aiming to understand how they were trained, what they learned, what was their foreign policy perspective, as well as to evaluate their influence.  The book examines the post-1946 group and their role in the formulation and implementation of Middle East policy, and how this has shaped events in the relationship between American and the Middle East.

The book examines the worldview of these modern “Arabists” or Middle East hands.  It also examines their interactions with the peoples of the region and with American presidents through a series of case studies spanning the Eisenhower through the Ford administrations. Case studies shed light on Washington’s perceptions of Israel and the Arab world, as well as how American leaders came to regard (and often disregard) the advice of their own expert advisors. The Middle East Area Program (MEAP) was established at Beirut to train US Foreign Service Officers to communicate in Arabic and to understand the region and all its peoples.  Middle East hands replaced the old East Coast elite who had staffed the interwar Near East Bureau. The program promised rapid advancement, but required them to invest two years at the American University of Beirut in order to immerse themselves in language training and area studies.

Over three decades, the program recruited, selected and trained a corps of approximately fifty-three diplomats, who were a much more diverse, middle-class group than their predecessors. They were ambitious careerists who sought the fast track to the top, ultimately serving throughout the Arab world and in Israel, staffing the State Department’s area desks and advising presidents. Many were skilled political reporting officers; and almost all of them became ambassadors as America expanded its presence in the region during the period of waning British influence. The program transformed the core of the State Department staff, replacing the old network of Orientalists with this small corps of highly-trained professionals. Ultimately, despite their expertise and a realistic view of American interests, their advice was often overridden by external political concerns.

This study examines America's Middle East area specialists and their experience over three critical decades of foreign policy, aiming to understand how they were trained, what they learned, what was their foreign policy perspective, as well as to evaluate their influence.  The book examines the post-1946 group and their role in the formulation and implementation of Middle East policy, and how this has shaped events in the relationship between American and the Middle East.

The book examines the worldview of these modern “Arabists” or Middle East hands.  It also examines their interactions with the peoples of the region and with American presidents through a series of case studies spanning the Eisenhower through the Ford administrations. Case studies shed light on Washington’s perceptions of Israel and the Arab world, as well as how American leaders came to regard (and often disregard) the advice of their own expert advisors. The Middle East Area Program (MEAP) was established at Beirut to train US Foreign Service Officers to communicate in Arabic and to understand the region and all its peoples.  Middle East hands replaced the old East Coast elite who had staffed the interwar Near East Bureau. The program promised rapid advancement, but required them to invest two years at the American University of Beirut in order to immerse themselves in language training and area studies.

Over three decades, the program recruited, selected and trained a corps of approximately fifty-three diplomats, who were a much more diverse, middle-class group than their predecessors. They were ambitious careerists who sought the fast track to the top, ultimately serving throughout the Arab world and in Israel, staffing the State Department’s area desks and advising presidents. Many were skilled political reporting officers; and almost all of them became ambassadors as America expanded its presence in the region during the period of waning British influence. The program transformed the core of the State Department staff, replacing the old network of Orientalists with this small corps of highly-trained professionals. Ultimately, despite their expertise and a realistic view of American interests, their advice was often overridden by external political concerns.

Over ten seasons since 2011, the television series American Horror Story (AHS), created by Ryan Murphy and Brad Falchuk, has continued to push the boundaries of the televisual form in new and exciting ways. Emerging in a context which has seen a boom in popularity for horror series on television, AHS has distinguished itself from its ‘rivals’ such as The Walking Dead, Bates Motel or Penny Dreadful through its diverse strategies and storylines which have seen it explore archetypal narratives of horror culture as well as engaging with real historical events. Utilising a repertory company model for its casting, the show has challenged issues around contemporary politics, heteronormativity, violence on the screen, and disability to name but a few. This new collection of essays approaches the AHS anthology series through a variety of critical perspectives within the broader field of television studies and its transections with other disciplines. 

The book includes sections on the industry context for the making of American Horror Story, the intertextual territory upon which the anthology series has been built, the societal and spatial aspects of American Horror Story, as well as its broader but specific relationship to otherness. The book accounts for the broad narratological sweep of AHS which crosses different times and locations while playfully exploring and openly acknowledging its internal linkages. 

The four initial essays in the “Specific Writers and Works” section display Pizer’s critical style in its characteristic varied and incisive form. The initial essay, an exercise in cross-discipline analysis, discusses the ways specific works by Crane, Dreiser, and Steinbeck reveal their author’s response to specific contemporary visual art works and reportage. The seconds offers a novel way of interpreting the naturalism of London’ archetypal story “To Light a Fire” by pointing out the weaknesses in Lee Clark Mitchell’s reading. The third centers on the usefulness of Norman Mailer’s essay on American Naturalism not only in its refutation of Lionel Trilling’s attack on the movement but in sharing with Trilling and others a misunderstanding of the central thrust of Theodore Dreiser’s work. And the fourth is a close reading of Dos Passos over the course of three works of his experience of the 1931 Harland Coal Strike to clarify his thinking of the best means for the artist both to represent and participate in the struggle for social justice in America.

American Paraliterature examines the generative encounters of post-1968 French theory with the postwar American avant-garde. The book begins with an account of the 1975 Schizo-Culture conference that was organized by Semiotext(e) editor Sylvère Lotringer at Columbia University. The conference was an attempt to directly connect the American avant-garde with French theory. At the event, John Cage shared the stage with Deleuze and Foucault introduced William S. Burroughs. This schizo-connection presents a way to read the experimental methods of the American avant-garde (Burroughs, Cage, and Kathy Acker), and how their writing creates a counterprogram to the power that Foucault and Deleuze started to articulate in the 1970s. 

While the year of the Schizo-Culture event also saw the publication of Foucault’s Discipline and Punish, his lecture at the conference anticipated his interest in a new form of governance: biopolitics. In the lecture, Foucault argued against the “repressive hypothesis,” which he saw as an invalid theory since there was such an obvious incitement to speak about sex. One discusses sexuality so that governments can “manage” and “administer” populations. Delezue later noted on this “incitement to discourse” in his comments to Antonio Negri. Deleuze saw Foucault (along with Burroughs) as one of the earliest theorists on the control society. This new society, he argues, requires a different set of weapons than those directed against disciplinary institutions. Strikes in factories are no longer effective in an era where the production of information replaces the industrial economy. As Deleuze explained to Negri, weapons against the control society will need to “hijack” speech and “create vacuoles of non-communication.” 

The two American artists-writers at Schizo-Culture developed weapons of non-communication in their art. John Cage emptied the words in Thoreau when he applied his chance operations to literature. William Burroughs attempted to cut-up “the Word.” Yet by the mid-1980s, Kathy Acker would write how “ten years ago it seemed possible to destroy language with language.” For Acker, “nonsense” does not break the institutional semiotic code of control per se. For Acker, it requires a writer to “speak precisely” in a language these codes forbid. This book considers another theory to hijack communication. Acker’s “plagiarism” appropriates canonical literature and then grafts semi-autobiographical and pornographic writing onto them. Samuel R. Delany similarly writes about how his experience in Times Square pornographic theaters creates a different discourse network, one that relies on “contact” instead of “networking.” The book concludes by moving outside the academic setting of the Schizo-Culture conference to find alternatives to capitalism's monolingual control of communication and information.